A  CATALOGUE  OF 

ETCHINGS  AND 

DRAWINGS 

BY 

/ 

CHARLES  MERYGN 


EXHIBITED  AT 

THE  GROLIER  CLUB 

29  EAST  32D  ST.,  NEW  YORK 
FROM  JANUARY  28  TO  FEBRUARY  19 

M.D.CCC.XCVIII 


m^;rvon's  grave  at  charenton. 


A  CATALOGUE  OF 
ETCHINGS  AND  DRAWINGS 

BY 

CHARLES  MERYON 


EXHIBITED  AT 

THE  GROLIER  CLUB 

29  EAST  3 2D  STREET,  NEW  YORK 
FROM  JANUARY  28  TO  FEBRUARY  1 9 

M.D.CCC.XCVIII 


Digitized  by  the  Internet  Archive 
in  2014 


https://archive.org/details/catalogueofetchiOOmery 


A  BIOGRAPHICAL  SKETCH 
OF  MERYON. 


On  the  23d  of  November,  1821,  was  born  Charles 
Meryon,  the  illegitimate  son  of  Charles  Lewis  Mer- 
yon,  an  English  physician  of  old  Huguenot  stock 
(1783-1877),  and  Pierre  NarcisseChaspoux,  a  French 
dancer,  believed  to  have  been  of  Spanish  origin. 
The  father  (who  became  physician,  secretary,  and 
biographer  to  Lady  Hester  Stanhope)*  subsequently 
took  the  boy^s  sister  with  him  to  England,  leaving 
the  son  with  the  mother.  The  latter  is  said  to  have 
watched  affectionately  and  carefully  over  the  boy, 
and  it  is  recorded  that  at  her  death  she  left  him 
20,000  francs.  But  it  is  also  suggested  as  very  likely 
that  she  bequeathed  to  him,  together  with  a  sensitive, 
ardent  nature,  the  germs  of  the  mental  disease 
which  was  to  cut  short  his  career.  He  early  went 
to  school  at  Passy,  and  proved  an  excitable  and 
fitful  scholar  "  from  the  first.  Thence  he  was  taken 
to  Marseilles,  then  to  Hyeres,  Nice,  Genoa,  Pisa, 
Leghorn,  and  back  to  Paris.  Determined  to  enter 
the  navy,  he  went  to  the  naval  school  at  Brest  in 

*  For  biographical  sketch  of  the  elder  Meryon,  see  "  Dic- 
tionary of  National  Biography,"  edited  by  Sidney  Lee, 
vol.  37,  London,  1894,  p.  301. 

3 


4 


A  BIOGRAPHICAL  SKETCH. 


1837.  In  1839  he  sailed  in  the  Algiers,  bound  for 
Algiers  and  the  Levant,  and  at  Smyrna  was  trans- 
ferred to  the  Montebello,  He  had  had  some  ele- 
mentary instruction  in  drawing  at  Passy,  and  during 
this  voyage  was  busy  with  his  pencil;  on  his  return 
to  Toulon,  he  began  to  study  with  Cordouan,  a 
landscape-painter.  Meanwhile  his  mother  died, 
and  Meryon  in  1842  again  went  to  sea  in  the  Rhin, 
despatched  to  the  coast  of  New  Zealand ;  this  time, 
too,  he  found  many  subjects  for  his  pencil.  In  1846, 
having  served  with  credit,  and  attained  the  rank  of 
lieutenant,  he  resigned  his  commission  — behev- 
ing  that  his  constitution  was  too  feeble  — and  re- 
turned to  Paris.  Drawn  to  art,  but  still  feeling  his 
way,  he,  after  having  some  lessons  from  one  Phe- 
lippes,  a  pupil  of  David,  undertook  a  large  painting, 
'^The  Assassination  of  Marion  Dufrene,  Captain  of 
the  Brulot,  1772,"  the  cartoon  of  which  was  exhib- 
ited at  the  Salon  of  1848.  The  insufficiency  of  his 
preparatory  studies  became  evident,  and  color-blind- 
ness made  itself  felt. 

It  was  then  that  he  met  Eugene  Blery,  the  en- 
graver, well  known  by  his  etchings  of  trees  and 
plants,  with  whom  he  spent  some  months.  During 
this  period,  also,  he  made  short  excursions  to  Eng- 
land, into  Normandy  and  Eure,  and  to  Bourges,  in 
which  latter  place  he  became  so  much  interested 
in  peculiarities  of  architecture  that  he  revisited 
it  two  years  later  (1850-51),  While  with  Blery, 
he  exercised  himself  in  making  copies  of  old  mas- 
ters, especially  Zeeman.  The  latter's  style  in  views 
of  Paris  and  maritime  scenes  (published  in  the 


A  BIOGRAPHICAL  SKETCH. 


5 


seventeenth  century)  deeply  influenced  him,  and 
brought  him  to  his  Ufe-work,  and  to  Zeeman  he 
dedicated  his  ^'premier  ouvrage,"  the  series  of 
etchings  of  Paris,  issued  1852-54,  on  which  his 
fame  mainly  rests. 

Meryon's  manner  of  making  his  preparatory 
sketches  for  his  views  of  Paris  was  peculiar.  He 
usually  drew,  not  one  picture  of  the  entire  scene 
to  be  reproduced,  but  a  number  of  small  sketches, 
bits  and  details  of  architecture,  executed  with  hard, 
finely  pointed  pencils,  working  in  light  strokes  from 
the  bottom  upwards.  These  he  pieced  together 
into  one  harmonious  whole,  reproducing  for  us  the 
architecture  of  non-Haussmanized  Paris,  not  with 
cold  correctness,  but  with  a  living  force,  as  Wed- 
more  says.  *^The  Paris,"  said  an  English  writer, 
''is  not  merely  a  set  of  marvelous  etchings,  faith- 
fully representing  the  places  the  artist  has  chosen 
to  depict ;  but  beyond  and  beside  this,  it  is  a  his- 
tory of  the  life  of  the  city  —  of  its  busy  streets  and 
bridges,  of  its  solitary  bye-ways,  its  squalor  and 
misery,  of  its  greatness  and  magnificence  —  col- 
oured throughout  by  the  personal  feeling  and  senti- 
ment of  the  artist.  It  is  a  drama  in  which  the 
personality  of  the  author  and  his  inmost  life  and 
thoughts  are  as  clearly  brought  out  as  in  the  no- 
blest poem  which  the  literature  of  any  county  can 
boast."* 

But  this  vision  of  old  Paris,  which  raised  him  to 
the  front  rank  of  artists  (the  '^greatest  and  most 
original  etcher"  of  the  present  century,  Burty  called 

*  Burlington  Fine  Arts  Club  Catalogue  [etc.]  1879,  P-  ^7- 


A  BIOGRAPHICAL  SKETCH. 


him),  found  no  appreciation  on  the  part  of  the 
general  public.    A  few  discerning  and  appreciative 
friends  tried  to  help  him  and  to  interest  others  in 
his  work.   Victor  Hugo  wrote  a  glowing  eulogium ; 
"These  etchings  are  magnificent  things/'  said 
he;  "strengthen  this  fine  imagination  by  all  en- 
couragement possible.     "  The  breath  of  immensity 
pervades  the  work  of  Meryon,  and  makes  of  his 
etchings  not  pictures  merely,  but  visions."    All  to 
no  purpose.    Meryon  struggled  on,  with  his  strong 
tenacity  of  purpose,  but  discouragement  and  disap- 
pointment began  to  tell  upon  the  mind  of  this  deh- 
cately  organized,  highly  sensitive  artist.  Even 
when  with  Blery  his  mind  was  slightly  affected,  and 
now  his  whimsicality  grew  into  a  more  alarming 
mental  aberration.    He  quarreled  with  his  best 
friends;   in  his  imagination  he  was  cheated  by 
them,  pursued  by  enemies.    His  work  began  to 
show  the  vagaries  of  a  mind  no  longer  under  con- 
trol.   Melancholy  seized  upon  him,  and  his  energy 
began  to  leave  him.    In  1857  the  Duke  of  Arem- 
berg  installed  him  near  his  chateau  at  Enghien, 
and  asked  him  to  reproduce  picturesque  views  in 
the  park.    It  was  too  late,  however.    Things  came 
to  a  crisis  in  1858,  and  he  was  taken  to  the  asylum 
at  Charenton,  Saint  Maurice.    The  good  influence 
of  the  place  had  its  effect,  and  he  was  discharged 
after  a  time.    But  the  cure  was  not  permanent.  In 
October,  1866,  he  returned  to  Charenton,  where  he 
finally  refused  all  sustenance, — there  was  not  enough 
food  in  the  world,  and  he  was  getting  more  than  his 
share,  said  he.    The  end  came  on  February  14, 


A  BIOGRAPHICAL  SKETCH. 


7 


1868,  and  he  was  buried  in  the  cemetery  of  the 
asylum  on  the  following  day,  in  the  presence  of  a 
few  friends.  A.  de  Salicis,  his  old  companion  in 
arms,  spoke  some  pathetic  words  at  the  grave,  and 
Bracquemond  subsequently  etched  an  epitaph  and 
some  pictorial  emblems  on  a  large  plate  of  copper, 
which  rests  on  the  tombstone  lying  flat  on  the  grave. 

Thus  died  this  straightforward,  earnest,  honest 
soul,  an  artist  endowed  with  rare  manual  skill,  a 
wondrous  sense  of  beauty,  and  an  unusual  power  of 
imagination,"  who  experienced  not  in  life  the  suc- 
cess and  appreciation  which  he  felt  should  be  his, 
gratefully  accepting  the  merest  pittance  for  his  finest 
plates  —  a  franc  and  a  half  for  his  ^^Abside,"  and 
the  whole  Paris  set  for  thirty  francs,  we  are  told ! 

It  must  not  be  forgotten,  however,  that  his  pov- 
erty was,  in  a  measure,  self  imposed.  Seymour 
Haden,  in  the  Academy"  of  January  31,  1880, 
bears  witness  to  the  fact  that  those  near  of  kin  to 
him  looked  after  his  comforts,  and  an  unpublished 
letter  from  his  father  (see  No.  i  in  the  present 
catalogue)  also  shows  this ;  but  poor  Meryon  evi- 
dently made  it  difficult  for  people  to  help  him  much. 

The  case  of  Charles  Meryon,"  wrote  Hamerton, 
*Ms  one  of  those  painful  ones  which  recur  in  every 
generation,  to  prove  the  fallibility  of  the  popular 
judgment.  Meryon  was  one  of  the  greatest  and 
most  original  artists  who  have  appeared  in  Europe. 
He  is  one  of  the  immortals.  His  name  will  be  in- 
scribed on  the  noble  roll  where  Durer  and  Rem- 
brandt live  forever.  .  ,  .  He  was  sorely  tried  by 
public  and  national  indifference,  and  in  a  moment 


8 


A  BIOGRAPHICAL  SKETCH. 


of  bitter  discouragement  he  destroyed  the  most 
magnificent  series  of  his  plates." 

''The  art  of  M.  Charles  Meryon,"  said  Burty, 
''is  absolutely  personal.  His  high  originality, 
which  is  not  within  the  comprehension  of  every  one, 
proceeds  from  no  master,  from  no  school.  ...  A 
highly  endowed  nature,  served  by  a  persistent  will, 
he  .  .  .  expressed  with  a  wholly  French  clearness 
the  intimate  and  supreme  poetry  of  that  old  Paris 
which  it  was  reserved  to  our  generation  to  demolish 
and  disfigure  without  pity.  Architecture  ...  has 
become,  under  his  point,  what  landscape  is  for  cer- 
tain great  masters  —  a  poem.  .  .  .  M.  Meryon 
preserves  the  characteristic  detail  of  the  architec- 
ture .  .  . ;  without  modifying  the  aspect  of  the 
monument,  he  causes  it  to  express  its  hidden  mean- 
ing, and  gives  it  a  broader  signification  by  associat- 
ing it  with  his  own  thought.  Hence  the  twofold 
power  of  this  work." 

And  Wedmore  :  "  Spirits  spoke  to  him,  only  too 
well,  in  every  street  of  Paris.  The  stones  were 
alive.  And  in  every  building  of  beauty  or  age, 
at  every  dark  street-corner,  in  every  bridge  that 
spanned  the  breadth  of  Seine,  in  every  aspect  of 
wandering  water  or  passing  sky,  there  was  some- 
thing to  recall  to  him  the  fortunes  of  the  solitary, 
of  the  disappointed,  of  the  desperate,  of  the  poor. 
His  sense  of  these  strange  fortunes  —  of  their  mys- 
tery and  tragedy  —  he  has  woven  inseparably  into 
the  fabric  of  his  work. " 


A  LIST  OF  BOOKS 
AND  PAMPHLETS  CONCERNED  WITH 
CHARLES  MERYON. 

(ARRANGED  CHRONOLOGICALLY.) 

Burty,  Philippe.  L'QEuvre  de  M.  Charles  Mer- 
yon.  (''Gazette  des  Beaux-Arts,"  Vol.  XIV, 
pp.  519-533,  and  Vol.  XV,  pp.  75-88,  June  and 
July,  1863.) 

Burty,  in  this  article,  calls  attention  to  the  notices  of  Mer- 
yon  by  Theophile  Gautier  in  the  "  Presse  "  and  the  "  Moni- 
teur,"  PaiilMantzin  "  L'Evdnement "  and  "  L' Artiste,"  and 
Charles  Baudelaire  in  the  "  Revue  Fran9aise,"  and  also  to 
an  article  in  the  *•  Siecle  "  of  October  6,  1858. 

Hamerton,  Phihp  Gilbert.  Meryon.  (Chap.  IV, 
covering  pp.  167-176,  of  his  ''  Etching  and  Etch- 
ers,Boston,  1876.) 

Burty,  Philippe.  Les  portraits  de  Charles  Mer- 
yon. (In  his  ''Maitres  et  petits  maitres,"  Paris, 
1877,  pp.  110-119.) 

Wedmore,  Frederick,  Meryon  and  Meryon's 
Paris.  ('^Nineteenth  Century,'^  Vol.  Ill,  pp. 
863-874,  May,  1878.) 

—  Same.  (In  Studies  in  English  Art,"  second 
series,  London,  1880,  pp.  169-202.) 

9 


lO        A  LIST  OF  BOOKS  AND  PAMPHLETS. 


—  Meryon  and  Meryon's  Paris:   with  a  descriptive 
catalogue  of  the  artist's  work.   London,  1879. 

Edition  limited  to  113  copies.  The  ' '  Nineteenth  Century  " 
article  repubhshed  again,  with  no  material  changes,  as  an 
introduction  to  the  catalogue. 

—  Same.  Second  edition,  revised  and  enlarged. 
London,  1892. 

Edition  limited  to  129  copies. 

Meryon  and  his  Work.  (^'Nation,"  Vol.  XXVI, 
p.  409,  June  20,  1878.) 

Attributed  in  Poole's  Index  to  R.  Sturgis. 

Burlington  Fine  Arts  Club.  Exhibition  of  a  selec- 
tion from  the  work  of  Charles  Meryon.  [Cata- 
logue ;  with  an  introductory  sketch  of  Meryon's 
life  and  works.]    London,  1879. 

Burty,  Philippe.  Charles  Meryon,  sailor,  engraver, 
and  etcher.  A  memoir  and  complete  descriptive 
catalogue  of  his  works.  Translated  from  the 
French  of  Philip  Burty  by  Marcus  B.  Huish. 
London,  1879. 

Haden,  Francis  Seymour.  About  etching.  The 
Fine  Art  Society.    [London],  1879. 

Contains  interesting  material  concerning  Mdryon  and 
Haden 's  visit  to  him. 

—  Same.    3d  edition.    London  [1881]. 

A  descriptive  catalogue  of  a  collection  of  drawings 
and  etchings  by  Charles  Meryon,  formed  by  the 


A  LIST  OF  BOOKS  AND  PAMPHLETS.  II 


Rev.  J.  J.  Heywood.  Seventy-five  copies  pri- 
vately printed  for  Ellis  &  White,  29  New  Bond 
Street,  1880.  [London.  ''Advertisement "  signed 
F.  S.  Ellis.] 

Wedmore,  Frederick.  The  Etchings  of  Meryon. 
(''Art  Journal,"  London,  1881,  p.  129.) 

Bouvenne,  Aglaus.  Notes  et  souvenirs  sur 
Charles  Meryon,  son  tombeau  au  Cimetiere  de 
Charenton  Saint  Maurice.  Avec  un  autographe, 
des  dessins  inedits,  des  portraits  de  Meryon  et 
des  gravures  de  Bracquemond,  Bouvenne,  Focil- 
lon  et  Gachet.    Paris,  1883. 

Catalogue  of  the  etched  work  of  Charles  Meryon. 
With  a  biographical  sketch  of  the  artist  [by  F. 
Keppel].  Frederick  Keppel  &  Co.,  New  York, 
1886. 

The  "biographical  sketch"  was  reprinted  in  "American 
Etchers.  Reprinted  from  '  The  Century  Magazine  '  for  Feb- 
ruary, 1883  . .  by  Mrs.  Schuyler  Van  Rensselaer.  To  which 
is  added  an  account  of  Meryon  and  his  work,  by  Frederick 
Keppel"  (New  York,  Frederick  Keppel  &  Co.,  1886). 

Meryon's  Etchings.  ("Nation,^'  Vol.  XLII,  p. 
176,  February  25,  1886.) 

Attributed  in  Poole's  Index  to  E.  Shinn. 

Catalogue  of  the  collection  of  etchings  by  Charles 
Meryon,  of  M.  de  Salicis,  deceased,  late  of  Paris, 
[etc.],  which  will  be  sold  by  auction,  by  Messrs. 
Christie,  Manson  and  Woods,  .  .  .  July  16,  1891. 
[London.] 


In  the  group  of  faithful  ones  there  was  an 
engraver  of  rare  merit,  M.  Bracquemond,  who 
also  had  been  a  friend  to  Meryon;  it  was  he 
who  understood  and  carried  out  the  thought  of 
M.  de  Salicis  by  engraving  a  plate  of  copper, 
ii8  centimetres  in  height,  which  was  placed 
on  the  flat  side  of  that  black  stone. 

This  engraving  is  an  allegory  recalling  Mer- 
yon's  profession :  at  the  top  a  skull,  symbol  of 
the  departure  from  this  earth ;  below,  crossed, 
are  two  extinguished  torches,  the  date  of  birth 
and  of  death  of  the  artist;  in  the  center  a 
branch  of  laurels,  the  leaves  of  which  support 
a  plate,  a  burin,  an  etching-point,  a  bottle  of 
acid,  indeed  all  of  the  working-tools  of  the 
etcher;  at  the  bottom,  M.  Bracquemond  had 
the  happy  idea  of  placing  the  vessel  of  the  arms 
of  the  city  of  Paris,  such  as  Meryon  had  in- 
vented and  designed  it. 

By  this  image,  no  doubt,  he  wished  to  re- 
mind us  that  Meryon,  although  of  English  ori- 
gin, was  essentially  Parisian  by  talent  and  in 
his  heart. 

Has  not  M.  Bracquemond  been  in  a  measure 
the  architect  of  this  tomb  erected  to  one  of  the 
glories  of  Paris? 

A.  Bouvenne,  ''Notes  et  souvenirs  sur 
Charles  Meryon''  (1883),  pp.  7,  8, 


12 


INSCRIPTION  ON  M^:RY0N'S  TOMBSTONE. 


CATALOGUE. 

MANUSCRIPTS  AND  PORTRAITS 
OF  MERYON. 

I  MS*  volume^  with  title-page,  in  ink:  Tome 
11*"  I  Correspondance.  |  Lettres  ecrites  et  re- 
geues.  |  Lettres  imprimees,  avis,  &c.  |  2^  cahier 
pr.  1865  I  Meryon,  Charles.  |  Graveur  aqua- 
fortiste,  ex-marin.  |  20.  R.  Duperr6.  | 

From  the  collection  of  Philippe  Burty.  8°,  faintly  ruled. 
Cheap  commercial  binding,  with  ticket  of  maker :  **  Dupin, 
Papetier."  Paged  1-170  in  MS.  The  nature  of  this  highly 
interesting  volume  is  indicated  by  the  title.  Into  it  Meryon 
copied  the  letters  which  he  wrote  to  various  people ;  the  writ- 
ing is  minute  and  close,  erasures  are  numerous  and  the  elabo- 
rate letters  run  over  on  to  extra  sheets  of  various  sizes  pasted 
in  and  folded  in  most  complicated  manner  to  fit  the  size  of  the 
book.  The  first  letter  is  dated  6  Nov.,  1865  ;  the  last,  July 
28,  1867,  from  the  Maison  de  Sant^.  Inserted  between  the 
leaves  are  letters  from  various  personages :  Delatre  and  Pier- 
ron,his  printers;  Jules  Niel,  librarian  at  the  Ministry  of  the 


13 


14  MANUSCRIPTS  AND  PORTRAITS. 


Interior;  Ingres  the  painter;  Baron  de  Nieuwerkerke,  Min- 
ister of  Fine  Arts;  Burty,  Bracquemond,  Baron  Pichon, lit- 
terateur and  collector;  Bailly,  Benjamin  Fillon,  Wasset, 
Laurence  and  others  who  tried  in  vain  to  assist  him,  often 
with  great  tact  and  forbearance ;  de  Salicis,  Grenaud,  and 
others  who  had  served  with  him  in  the  navy.  Interspersed 
are  printed  circulars  from  societies  and  tradespeople,  notices  of 
funerals,  etc.  Towards  the  end,  fewer  documents  are  inserted, 
his  letters  are  very  frequent,  long,  and  wandering,  showing 
the  rapid  failure  of  his  mind.  The  last  letter  is  a  "  duplicata  " 
addressed  to  the  director  of  the  Charenton  asylum,  and  op- 
posite there  is  a  slight  sketch  of  his  smaller  etching  of  "  La 
loi  lunaire,"  with  verses  and  other  writing.  Accompanying 
the  volume  are  letters  from  Meryon  to  Burty  (1861-64)  re- 
ferring to  the  catalogue  which  Burty  was  making  for  the 
"  Gazette  des  Beaux-Arts,"  and  containing  also  his  verses  for 
the  "  Morgue,"  to  Blery,  to  Zeeman,  etc.,  and  several  receipts 
for  small  sums  received  from  Burty  and  others  for  his  etch- 
ings, etc. 

Among  the  letters  in  the  volume  two  have  an  especially 
sad  interest,  as  showing  the  friendly  but  unsuccessful  at- 
tempts made,  to  the  very  end,  to  help  the  unhappy  and  un- 
fortunate artist.  Under  date  of  January  7,  1866,  Meryon's 
father  writes  to  him  from  London  as  follows  [in  French] : 

My  dear  friend  :  You  leave  me  without  news  of  your- 
self for  so  long  that  I  fear  you  are  ill.  Your  sister  also  does 
not  write  to  me. 

Since  my  last  letter  I  have  had  misfortunes  of  which  the 
death  of  my  dear  wife  was  the  saddest.  The  others  relate 
only  to  money  matters,  which  are  mended  by  economy,  but 
the  first  has  prostrated  me  so  that  I  have  not  before  this  had 
the  heart  to  write  to  you. 

At  the  beginning  of  the  new  year  I  find  myself  free  from 
debt,  and  I  am  preparing  to  send  you  two  hundred  francs,  if 
you  will  accept  them.  For  you  will  doubtless  remember 
that  the  last  time  I  sent  you  a  small  sum  you  accounted  it  as 
so  much  taken  from  the  enemy. 

Eugenie  does  not  forget  you  by  any  means. 

We  intend,  circumstances  permitting,  to  pay  you  a  visit 
next  spring. 

Jean  has  married  a  young  French  girl  of  Smyrna  and  is 
stopping  in  that  city  at  present. 
The  photograph  of  yourself,  so  well  taken,  and  which  you 


MANUSCRIPTS  AND  PORTRAITS.  1 5 


presented  to  me  some  years  ago,  hangs  on  the  wall  over  the 
fire-place,  in  my  bed-room.  There  I  study  your  features 
every  morning  on  rising,  every  evening  when  retiring. 
You  much  resemble  your  dear  mother. 

As  to  Fanny,  I  wrote  to  her  several  months  ago,  asking 
for  her  photograph,  but  she  would  not  grant  me  that  favor, 
saying  that  she  did  not  have  any  printed. 

Eugenie  has  changed  but  little ;  but  time  has  left  heavy 
marks  on  me,  and  I  exist  at  present  only  by  sufferance  and 
the  good  will  of  God. 

Always  your  friend, 

C.  L.  M. 

Address  your  letters  care  of  Messrs.  Bosanquet  &  Co., 
73  Lombard  Street,  London,  as  formerly. 

Meryon,  in  his  reply  of  8th  February,  i866,  after  stating 
that  he  had  not  heard  from  his  father  since  1863,  excepting 
through  the  visit  of  a  M.  Miranda,  made  in  the  elder  M^r- 
yon's  name,  continues  : 

I  certainly  feel  a  real  pleasure  in  knowing  that  you  are 
enjoying  as  good  health  as  is  possible  considering,  on  the  one 
hand,  your  advancing  age,  and  on  the  other  the  misfortunes 
which  have  befallen  you,  and  of  which,  indeed,  the  most 
painful  is  the  death  of  Mme.  Meryon,  a  loss  which  I  too, 
who  have  retained  so  pleasant  a  recollection  of  her  char- 
acter, feel  with  sincere  and  profound  regret;  for  I  have 
not  forgotten,  as  I  have  often  said  to  you,  the  happy  time, 
free  from  all  care,  the  sweetest  of  my  childhood,  v^^hich  I 
passed  in  your  company  and  that  of  that  good  and  amiable 
lady. 

Then,  with  the  words,  "  But,  Monsieur  Meryon,  despite 
this  knowledge  that  it  is  pleasant  to  me  to  address  you,  not- 
withstanding the  respect  which  has  always  been  inspired  in 
me  by  that  organizing  force  given  to  you  by  the  Creator,  to 
whom,  as  I  see  with  pleasure,  you  render  homage,"  he  in- 
troduces several  pages  of  rambling  matter.  Apologizing 
for  his  frankness,  even  brutality,  he  states  that  the  sum  sent 
by  his  father  is  a  sort  of  trap  set  for  his  cupidity,  a  means 
of  hastening  his  death,  and  that  consequently  he  cannot  ac- 
cept it ;  that  he  does  not  put  faith  in  the  statement  regard- 


l6  MANUSCRIPTS  AND  PORTRAITS. 


ing  Jean,  but  believes  that  he  is  dead;  that  he  does  not 
count  on  the  proposed  visit,  which  he  thinks  would  be  un- 
profitable, useless ;  that  Eugenie  is  his  pitiless  enemy,  etc., 
etc.    The  whole  foreshadows  the  final  catastrophe. 


2  A  receipt  in  Meryon^s  writingf* 

Translation :  *^  Received  from  Mr.  Ph.  Burty  the  sum  of 
fifty  francs  in  payment  for  a  number  of  engravings  and 
drawings  made  by  me.  Paris,  this  15th  December,  1864." 
C.  M^ryon.  Meryon  (Charles),  engraver,  20  Rue  Duperre. 

3  Portrait    of    M6ryo%  by  Bracquemond* 

Head  in  profile  on  medallion* 

C.  Meryon.    Rue  No.  St.  -Etienne-du-Mont,  26,  mdcccliv. 
a  Proof  before  letters  (W.  1st  state),"  B  a  C.  M."  in  upper 
left  hand  corner.    Signed  in  crayon  by  Bracquemond,  who 
adds  a  note :  "  Very  fine  proof,  before  the  plate  was  cut  by 
Meryon."    On  green  paper. 

b  1st  state  (W.  2d  state).    Plate  cut.    "  B.  a  C.  M."  has 
disappeared.    "  Ch.  Meryon "  on  the  plaque.  Below: 
Messire  Bracquemond 
A  peint  en  cette  image 
Le  sombre  Meryon 
Au  grotesque  visage. 
Signed  in  pencil  by  Bracquemond  with  his  note :    "  done 
after  nature  in  terra-cotta  manner." 

c  2d  state  (W.  3d  state).  The  verses  and  the  line  below 
have  disappeared,  "  B.  a  C.  M."  now  appears  in  the  lower 
left  hand  corner,  printed  in  red,  and  the  new  inscription 
reads  :  "Imp.  A.  Delatre,  Rue  St.  Etienne-du-Mont,  No.  26." 

4  Portrait  of  M^ryo%  seated^  by  Bracque- 

mond*   Etched  from  life* 

a  On  green  paper.    One  of  10  proofs. 

b  Facsimile.  With  signed  note  in  ink  by  Bracquemond : 
"Ch.  Meryon,  engraver.  Plate  destroyed.  Etching  after 
nature."    Plate  destroyed  by  Meryon. 


MANUSCRIPTS  AND  PORTRAITS.  1 7 


5  Charles  Meryon^  Pof trait  by  Flam- 

cng*  Meryon  sitting*  up  in  bed*  Facsimile 
of  the  drawing** 

a  1st  state.  Before  title.  In  upper  left-hand  corner :  "II  [?] 
Mai  1858  Lp.  Flameng."  With  pencil  note  below,  in  French; 
"  Engraved  after  my  drawing  executed  from  nature  a  short 
time  before  the  death  of  M^ryon.  This  artist  at  that  time  lived 
in  a  H6tel  of  the  Rue  des  Fosses  St.  Jacques.  L^op. 
Flameng." 

**  A  short  time  before  the  death  "  is,  of  course,  an  error. 

Flameng  has  stated  that  as  he  proceeded  with  the  draw- 
ing M^ryon  became  more  and  more  excited  until  he  (Flam- 
eng) had  to  make  a  speedy  exit. 

d  2d  state.    With  title. 

6  Supposed  portrait  of  Meryon*     Etcher  un- 

known. 

Bust  portrait.  Full-face,  eyes  glancing  sideward.  Clad 
in  shirt  open  at  neck,  coat  thrown  back.  Engaged  in  draw- 
ing.   From  the  Thibaudeau  collection. 


2 


ETCHINGS  BY  MERYON. 


It  has  been  found  most  convenient  to  adopt  the  arrange- 
ment made  by  Burty  (although  it  is  not  strictly  chronological), 
as  it  seems  best  to  show  the  artistic  development  of  Meryon. 
In  determining  states,  Wedmore  has  been  followed  unless 
otherwise  noted.  For  each  plate,  the  numbers  in  Burty  and 
Wedmore  are  given,  B.  standing  for  Burty^s  Catalogue,  trans- 
lated by  Huish  (1879),  and  W.  for  Wedmore's  "Meryon" 
(2d  edition,  1892). 

7  Head  of  Christ* 

B.  I.    W.  78. 

After  a  miniature  made  by  filise  Bruyere,  from  a  painting 
by  Philippe  de  Champagne.  "This  was  the  first  attempt  at 
etching  made  by  Meryon,  under  the  direction  of  Mons. 
^X^xy:'— Burty, 

Unique,  Manuscript  note  in  ink  by  Meryon,  on  mount : 
"d'apr^s  une  copie  d'une  peinture  de  Philippe  Champagne." 

8  The  Cow  and  the  Ass*    C.  M.  d'apres  Lou- 

therbourg. 
B.  2.    W.  63. 

9  A  Soldier^  standing,  full  face,  with  arms  ex- 

tended and  hands  resting   on  his  battle-ax. 
After  Salvator  Rosa. 
B.  3.    W.  67a. 

18 


ETCHINGS.  19 

10  A  Soldiei^^  standing,  seen  in  profile. 

W.  67. 

Ms.  note  in  ink,  by  M^ryon:  "Soldat,  d'apr^s  Salvator 
Rosa."    Not  described  by  Burty. 

"  A  Shepherd,"  B,  4,  «  A  Shepherdess,"  W.  67<5.  The 
only  copy  known  belongs  to  Mr.  Macgeorge  of  Glasgow. 

11  The  Sheep  and  the  Flies* 

B.  5.    W.  64. 

Ms.  note  in  ink  by  Meryon  :  "  d'apr^s  Karel-Dujardin." 

12  The  Three  Pi§:s  before  a  HoveL     C.  M. 

d'apres  K.  D.  J. 
B.  6.    W.  65. 

Japan  paper. 

13  The  Two  Horses*    C,  M.  d^apres  K,  D.  J. 

B.  7.    W.  66. 

Japan  paper. 

II,  12,  and  13  are  reversed  copies  after  etchings  by  Karel 
du  Jardin. 

14  Ewe  and  Two  Lambs*    K  di  J,  V.  V,  A.  4, 

Paris.    Imp.  Delatre. 

B.,  p.  34.    W.  62. 

Wedmore  calls  this  a  copy  from  A.  Van  de  Velde.  Burty 
describes  it  as  above.  Published  in  "L'Artiste,"  15  Dec,  1861, 

15  The  Pavilion  of  Mademoiselle  and  a  part 

of  the  Louvre  at  Paris*    C.  Meryon  d'apr^s 

Zeeman. 

B.  8.    W.  68. 

Ms.  note  in  pencil  by  Meryon :  "  Vue  du  Pavilion  de  Ma» 
demoiselle  et  d'une  partie  du  Louvre  (vers  1650),'^ 


20 


ETCHINGS. 


1 6  Entrance  of  the  Faubourg  of  Saint  Wat- 
ceau  at  Par is# 
B.  9.    W.  69. 

Before  letters. 

Pencil  note  by  Meryon :  "  Entree  du  faubourg  St.  Mar- 
ceau  a  Paris  (1650  environ)." 

^  With  "  C.  M.  d'apres  Zeeman." 


17  A  Water-mill  near  Saint  Denis*    C.  M. 

d'apres  Zeeman. 

B.  10.    W.  70. 

Pencil  note  by  Meryon  :  "  Moulin  a  eau  a  St.  Denis." 

18  The  River  Seine  and  the  Angle  de  Mail  at 

Paris* 
B.  II.   W.  71. 

Before  letters. 

Ms.  lettering  in  pencil  by  Meryon :  "  C.  M.  1850.  De 
Rivier  de  Cijne  en  de  houk  van  de  Malie  bain  [?]  tot  Paris, 
d'apres  Zeeman  1650." 

Nos.  15-18  are  after  a  series  of  etchings  by  Zeeman  pub- 
lished at  Amsterdam,  about  1650,  by  Clement  de  Jonghe, 
under  the  title  of  Veues  de  Paris  et  ses  Environs.  "  The 
coppers  of  the  two  first  were  bought  of  Meryon  by  the  en- 
graver, Auguste  Pequegnot,  and  are  still  in  existence." 

—  Burty, 

19  The  Galliot  of  Jean  de  VyI  at  Rotterdam* 

B.  12.   W.  72. 

The  present  copy  has  "  C.  M.  d'apres  Zeeman,"  and  the 
angles  of  the  plate  are  rounded  off.  It  comes  after  B.'s  2d 
state.    W.  mentions  no  states. 


ETCHINGS. 


21 


20  Ffom  Haarlem  to  Amsterdam* 

B.  13.    W.  73. 

a  1st  state.    With  "  C.  M.  d'apr^s  Zeeman."    Before  the 
angles  of  the  copper-plate  were  rounded  off. 
b  2d  state.    Angles  of  plate  rounded. 
Only  first  state  given  by  B.;  noiie  by  W. 

21  South-Sea  Fishers* 

B.  14.    W.  75. 

a  1st  state.    With  "  C.  M.  d'apr^s  Zeeman." 
b  New  issue  of  this  plate  published  by"  L' Artiste"  in  1861, 
with  the  name  **  Meryon  "  completed  by  another  hand. 

2  2  Calais  to  Flushing* 

B.  15.    W.  74. 

a  1st  state.  With  "  C.  M.  d'apr^s  Zeeman,"  Angles  of 
plate  square. 

b  2d  state.    Angles  of  plate  rounded, 
W.  and  B.  mention  no  states. 

This  and  the  preceding  three  are  copies  of  a  set  of  etchings 
by  Zeeman,  the  set  having  for  title,  *  Recueil  de  plusieurs 
navires  et  pay  sages  faits  d^apres  le  natm^el.^ '''' 

23  Entree  du  Couvent  des  Capucins  Frangais 

a  Athenes* 
B.  16.   W.  32. 

a  1st  state.    Before  letters. 

b  2d  state.  With  the  title  as  above,  **  tome  i,  p.  76  "  in 
the  left  upper  corner,  C.  Meryon  sculp.",  and  *^Pierron 
Delatre,  R.  Montfaucon,  I." 

Executed  for  Count  Ldon  de  Laborde's  "  Athenes  au 
XVme,  XVIme,  et  XVIIme  Si^cles  "  (Paris,  1853). 

24  La  Salle  des  Pas  Perdus* 

B.  17.  W.  76. 

a  W.  1st  state.  Plate  uncut.  With  long  inscription,  be- 
ginning "  II  faut  avoir  examine  la  piece  originale,"  and  fol- 


22 


ETCHINGS. 


lowed  by  the  signature.  This  comes  between  B/s  1st  and 
2d  states. 

b  B.  3d  state.  With  "  C.  M^ryon  sculp,  d'apr^s  Ducerceau^ 
MDCCCLV."  and  "Delatre  R.  Fg.  St.  Jacques,  No.  81.'' 
The  copper  has  been  cut  just  below  the  marginal  line  at  the 
bottom. 

The  long  inscription  on  24a  is  here  given  in  M^ryon^s 
handwritingy  in  penciL 

25  Chenonceau*     C.    Meryon    sculp,  d^apres 

Ducerceau  — A.  Delatre  Imp.  Rue  du  Fg,  St 
Jacques  no.  81,  Paris. 

B.  18.    W.  77. 

"This  very  intelligent  reduction  of  one  of  the  plates  in  the 
second  volume  of 'Les  plus  excellents  bastimens  de  France, 
par  Jacques  Androuet  du  Cerceau,  Architecte  a  Paris,'  is  to 
be  found  in  *  L'Inventaire  des  meubles,  bijoux  et  livresestans 
a  Chenonceau,  suivi  d^une  notice  sur  le  Chateau  de  Chenon- 
ceau,'  by  the  Prince  Auguste  Galitzin,  1856." — Burty. 

W.  77  a  shows  a  different  side  of  the  castle. 
Mr.  Macgeorge  has  the  only  impression. 

26  he  Pont-Neuf  et  la  Samaritame  de  dessotis 

la  I  ere  Arche  du  Pont-au-Chang-e^ 

B.  19.    W.  29. 

a  Trial  proof,  without  sky,  and  with  top,  over  center  of 
arch,  unfinished.    White  space  around  head  of  man  fishing. 

d  Trial  proof,  with  a  delicate  sky.  Top  completed.  B.'s 
1st  state. 

c  Proof,  Bottom  marginal  line  strengthened  and  com- 
pleted. Space  around  head  of  man  fishing  is  now  filled  in. 
Bs's  2d  state. 

d  W.'s  "pubhshed  state."  B.'s  2d  state.  With  title,  as 
above,  and  "  C.  Meryon  sculp,  d'apr^s  un  dessin  de  Nicolle, 
tir6  du  cabinet  de  Monsieur  Destailleurs,  Architected  Imp. 
A.  Delatre,  Rue  Fg.  St.  Jacques,  81." 


ETCHINGS. 


23 


27  Le  Pont  au  Change,  vei^s  iJM* 

B.  20.    W.  28. 

«  Trial  proof.    Before  the  sky.    Before  the  rope. 
d  With  the  rope.    Before  letters.    Apparently  W.'s  1st, 
B.'s  2d  state. 

c  With  title  as  above,  and  "C.  M^ryon,  sculp.  mdcccl5  d'apr^s 
un  dessin  de  Nicolle.  A.  Delatre  Imp.  rue  du  Fg.  St.  Jacques, 
no  81."    Apparently  W.'s  2d,  B.'s  3d  state. 

B.  and  W.  give  a  fuller  and  somewhat  different  inscription, 
thus:  "...  dessin  de  Nicolle,  tire  du  cabinet  de  M. 
Destailleur,  architecte.  Imp.  A.  Delatre,  Faub.  St.  Jacques, 
No.  81." 

See  also  No.  113. 

28  Plan  du  Combat  de  Sinope,  d'apres  le  dessin 

d'un  officier  du  navire  Anglais  "  Retribution." 
C.  Meryon  sculp.    A.  Delatre  Imp.  Rue  de  la 
Bucherie,  n.  6. 
B.  21.    W.  79. 

Colored. 

"  This  plan,  which  shows  the  respective  positions  of  the 
Russian  and  Turkish  fleets,  was  intended  to  illustrate  a  work 
which  was  never  published." — Burty. 

"  The  impressions,  generally  coloured,  were  published  by 
Tanera. " —  Wedmore, 

29  San  Francisco,  MDCCCLV*    C.  M6ryon  del. 

sculp.    Paris,  1856.    A  Delatre  Imp.  Rue 

Fg.  Poissonniere,  145. 

B.  22.    W.  80. 

"  The  commission  for  the  plate  was  given  to  Meryon  by 
two  bankers,  Messrs.  T.  R.  Bayerque  and  A.  Pioche,  whose 
portraits  fill  two  medallions  and  whose  initials  are  placed  on 
escutcheons.  The  arched  frame,  supported  by  the  figure  of 
*  Work '  seated  on  mining  tools,  and  *  Abundance  '  reclining 
on  fruits  of  various  kinds,  was  not  placed  there  for  allegori- 


24 


ETCHINGS. 


cal  or  ornamental  purposes  merely,  but  principally  in  order 
to  fill  up  a  large  gap  which  occurred  in  the  five  little  daguer- 
reotype plates  which  had  been  furnished  to  Meryon  as  a  basis 
for  his  design.  These  plates  having  been  taken  on  the  spot, 
but  at  different  hours  of  the  day,  showed  in  some  the  light  com- 
ing from  the  right,  in  others  from  the  left.  This  troubled  him 
greatly,  as  did  the  whole  plate,  which,  in  fact,  hastened  on 
the  course  of  his  malady.  .  .  .  The  steel  on  which  this  mag- 
nificent  yet  extraordinary  design  was  drawn  is  still  in  exis- 
tence."— Burty. 

For  drawings,  see  No.  107. 

30  View  of  the  Ruins  of  the  Chateau  of  Pietf  e- 

fonds* 
B.  23.    W.  81. 

Burty  catalogues  a  1st  state;  "Before  much  subsequent 
working  on  the  plate  in  dry  point,"  and  a  2d  state :  "  With 
these  additions."  The  plate  here  shown  is  presumably  B.*s 
1st  state.    It  is  signed  "  C.  M." 

"  This  facsimile  of  a  sketch  from  nature  of  Monsieur  E, 
Viollet  le  Due  was  etched  by  Meryon  during  his  first  con- 
finement in  the  asylum  at  Charenton." — Burty, 

31  RtiePirottette-aiJx-Halles^ 

B.  24.    W.  30. 

^  2d  state  (B.'s  2d).  "  C.  M.  et  L."on  chimney  to  the 
right.  Inscription  '*Jamet  M^  Maree.  Bains  de  Mer 
Dieppe,  [etc.]"  on  wall  at  right.  Title:  "Rue  Pirouette. 
i860."    Rare,  says  W.    20  impressions,  says  B. 

On  Japanese  paper. 

b  4th  state  (B.'s  3d).  Title  as  above,  "Laurence  del.  Mer- 
yon sculp.,"  and,  under  the  title,  "  Delatre  imp.  R.  S.  J. 
265."  "  C.  M.  et  L."  has  disappeared  from  the  chimney. 
New  inscription  (fragmentary)  on  wall  at  the  right:  "Aux 
no.  Cana.    Martinga  Restaura." 

c  5th  state  (B.'s  4th).  Inscription  on  wall  at  right  again 
changed  to:  "Aux  no.  Gama.  Sacoch,  [etc.]"  Also,  "Lau- 
rance  et  Meryon  "  appears  on  wall  in  upper  left  hand  cor- 
ner, which  is  not  noted  in  either  W.  or  B. 

"  He  used  the  burin  in  this  plate  to  a  considerable  de- 
gree ,  .  .  The  copper  is  in  existence." — Burty, 


ETCHINGS. 


25 


32  Presentation  to  King  Louis  XL  of  the  "Work 

Valere  Maxime^  printed  at  Paris  about  1475. 

B.  25.    W.  82. 

Signed  "C.  M.  sc.,"  which  signature,  according  to  Burty, 
"  constitutes  the  mark  of  a  4th  state." 
No  states  in  W. 

After  a  miniature  which  belonged  to  Niel. 
"The  plate  is  in  existence. "—S^r^jj/. 


33  Chevet  de  St*  Martm-suf-Renelle^  figlise  par- 
oissiale  Supprimee  en  1791. 
B.  26.    W.  83. 

a  Trial  proof.   With  «  Polydes  Langlois,  1837.    C.  M." 

d  With  title,  as  above,  and  "  Polydes  Langlois,  1837.  C.  M. 
21  Octobre,  i860.  Imp.  Delatre.  Imp.  r.  des  Feuillantines 
4."  At  top  of  plate:  "  Memoires  de  la  Societe  des  Anti- 
quaires  de  Normandie  T.  xxiv." 

B.'s  2d  state;  no  states  in  W. 


34  Passerelle  du  Pont  au  Change  apres  Pln- 
cendie  de  i62t  (d'apres  un  dessin  du  temps 
tir6  de  la  collection  de  M{  Bonnardot). 
B.  27.    W.  84. 

a  1st  state.  (B.'s  4th.)  Before  letters.  Signature  C.  M. 
followed  by  an  L  in  a  triangle,  which,  Burty  tells  us,  is  the 
stamp  of  the  collection  Lagoy,  and  appeared  in  some  proofs, 
being  subsequently  erased. 

^  2d  state.  (B.'s  5th).  With  title  as  above,  and  " Imp. 
Delatre,  r.  des  Feuillantines,  4,  Paris."  An  impression  on 
green  paper,  before  the  plate  was  put  in  press  for  the  Gazette 
des  Beaux-Arts,"  in  which  it  appeared  on  Nov.  I,  i860  (Vol. 
viii,  opp.  p.  156).    Title  is  in  small  caps,  as  in  B.'s  6th  state ! 


35  Paftie  de  la  Ciil  de  Paris^  vers  la  fin  du 


26 


ETCHINGS. 


XVI le  Siecle,  sur  la  rive  gauche  de  la  Seine, 
entre  le  Pont  Ne.  Dame  et  le  Pont-au-Change. 
B.  28.    W.  31. 

a  Trial  proof.  (B.'s  2d  trial  proof.)  Sky  unfinished  on 
the  left.  Towers  of  Notre  Dame  inserted.  Smoke  issuing 
from  two  chimneys  on  the  right.  Unlettered  board  over 
gables  on  extreme  right. 

b  2d  state.  Words  "  Au  Cana'^  in  inscription  on  1st  state 
on  board  over  gables  ("  Au  Cana,  C.  M^ryon,  restaura  Paris 
an  de  gra,  1861  ")  have  been  removed. 

Meryon  here  indulges  in  a  favorite  trick  of  having  the  margin 
of  the  plate  pass  through  an  inscription,  so  that  the  words  at 
the  ends  of  the  lines  are  fragmentary. 

c  3d  state.  The  inscription  on  the  board  is  replaced  by 
"Au  Repu.  Le  Sobre  resta.  Poisson  fr."  With  title  as 
above,  followed  by  a  long  note  beginning,  "  N.  B.  Sui- 
vant  toute  probabilite,'^  and  with  "  {Le  dessin  fait  partie 
de  la  collection  de  Bonnardot,)  Chez  Rochoux,  Quai  de 
PHorloge,  19.    Delatre  Imp.  r.  des  Feullantines,  2,  Paris." 

"This  etching,"  says  Burty,  "afforded  to  M^ryon's  friends 
one  of  the  most  convincing  proofs  of  his  unfortunate  malady. 
In  spite  of  their  counsels,  and  of  the  advice  of  Mons.  Bon- 
nardot, who  washed  him  to  keep  to  the  original  design, 
Meryon  pretended  that  the  towers  of  Notre  Dame,  and  the 
chimneys  of  the  houses,  had  been  effaced  in  the  original 
drawing  by  evil-disposed  persons,  and  he  insisted  on  placing 
them  in  his  etching;  thus  transgressing  historical  accuracy 
with  a  persistency  which  could  leave  no  doubt  in  any  one's 
mind  as  to  his  mental  condition." 


36  Le  Grand  Chatelet  a  Paris^  d'apres  un  des- 
sin execute  vers  1780,  qui  fait  partie  de  la  col- 
lection de  Berard. 
B.  29.    W.  85. 

1st  state.  (B.'s  2d.)  Before  letters.  " 20  proofs  were 
taken  of  this  state. "— .^^/r^. 

b  2d  state.  (B.'s  3d.)  Title,  as  above,  and  "  C.  M.  sculp. 
1861.  Pierron  Imp.  r.  Montfaucon  I.  Chez  Rochoux,  Quai 
de  I'Horloge,  19." 


ETCHINGS.  27 

37  Vue  de  rancien  Louvre  du  Cot6  de  la  Seine 

(J65  ♦  ♦)    Peint  par  R.  Zeeman.    Grave  par 
C.  M.  1866.    Chalcographe  Imp\^  du  Louvre. 
B.  30.    W.  60. 

^  Proof  before  letters.  No  sky.  Signed  in  pencil,  "  C.  M. 
3  Nov.  1865." 

b  1st  state.  Before  letters.  Ms.  note  **a  Monsieur  Reiset," 
by  C.  M^ryon. 

c  2d  state.    With  full  inscription  as  above. 

"  The  copper  of  this  etching  is  in  the  Calcographie  Na- 
tionale  at  the  Louvre." — Burty, 

38  Eaux-Forts    sm    Paris    par    C.  Meryon. 

MDCCCLIL 
B.  31.    W.  I. 

Title,  printed  on  green  paper,  of  Meryon's  principal  work, 
which  latter  is  entered  under  Nos.  38  to  61  in  the  present 
catalogue. 

39  A  Reinief^  dit  Zeeman^  Peintfe  et  Eaa-for- 

tien    C.  Meryon  fecit  MDCCCLIV.  Imp. 

Rue  neuve  St.  Etienne-du-Mont  no.  26. 

B.  32.    W.  2. 

Dedication  of  the  Paris  set;  42  lines  of  verse,  beginning 
"  Peintre  des  matelots." 

40  Old  Gate  of  the  Palais  de  Justice* 

B.  33.   W.  3. 

a  Proof  before  letters.  (B.  ist  state.)  Printed  with  the 
"Tombeau  de  Moliere,*'  which  was  engraved  on  the  same 
plate.    (See  No.  61.) 

b  1st  state  (B.  2d).  Before  letters.  Now  divided  from 
the  "  Tombeau,"  and  the  plate  cut  down. 

c  2d  state  (B.  3d).  With  « Paris.  C.  Meryon.  fit. 
MDCCCLIV.  Imp.  Rue  Ne.  St. -Etienne-du-Mont,  no.  26." 


28 


ETCHINGS. 


41  Qu^ Ame  pure  Rougfisse^    C.   M.  mdcccliv. 

Meryon  imp.  Rue  neuve  St.-Etienne-du  Mont 

no.  26. 

B.  34.    W.  4. 

Twenty-one  lines  of  verse,  beginning : 
"  Qu'ame  pure  rougisse, 
Mais  ci  pour  frontispice 
Je  prends  noir  Diablotin." 
Subsequently,  the  word  rougisse  was  altered  to  gemisse, 

42  Arms  of  the  City  of  Paris* 

B.  35.   W.  5. 

A  shield,  on  which  a  galley  is  sailing  toward  the  right. 
a  Proof  before  letters.    Plate  uncut. 
b  Proof  before  letters.   Plate  cut  down  close  to  etching  on 
both  sides. 

Presentation  copy. 
Note  in  ink : 

"A  Monsieur  Niel  —  faible  temoignage  de  reconnaissance 
pour  le  genereux  appui  et  les  encouragements  qu'il  m'a 
donnas,  pendant  1'  execution  de  ce  premier  ouvrage. 
"  Son  tr^s  humble  et  bien  devout  serviteur  et  ami 

"  C.  Meryon. 

"  13  Mars,  1855." 

c  Publication  state,  with  "C.  Meryon  ft.  MDCCCLIV. 
Imp.  Rue  Ne.  St.  Etienne  du  Mont  26."    On  green  paper. 

43  Fkctuat  nec  Mergitun  MDCCCLI-IV. 

C.  M. 

B.  36.   W.  6. 

A  shield,  with  galley  sailing  toward  the  spectator. 
a  The  etching. 

b  A  woodcut  copy.  The  oars  are  raised  here,  instead  of 
being  lowered,  as  in  the  etching. 

This,  according  to  Burty,  appeared  in  the  "Gazette  des 
Beaux- Arts  "  of  1864,  and  was  subsequently  printed  on  the 


ETCHINGS. 


29 


cover  of  the  "  Paris  Guide,  par  les  principaux  ^crivains  et 
artistes  de  la  France,  1867." 
For  drawing,  see  No.  108. 

44  Le  Sttyge* 

B.  37.    W.  7. 

a  1st  state  (B.'s  2d).    Initials"  C.  M."  on  chimney  at  bot- 
tom of  oval.    Under  the  oval,  on  the  left:  "C.  Meryon  del. 
sculp."  and    MDCCCLIII  "  (reversed)  ;  on  the  right :  "  A. 
Delatre  imp.  rue  de  la  bucherie,  6."     Underneath,  the  lines 
"  Insatiable  vampire,  1'  eternelle  Luxure 
Sur  la  grande  Cite  convoite  sa  pature, 
«  C.  M." 

"  Very  few  impressions." —  Wedmore.    On  green  paper. 

<5  2d  state.  (B.'s  3d.)  Plate  slightly  reduced  in  size.  The 
lines  of  verse  removed. 

c  4th  state.  All  lettering  is  erased  except  "  C.  M."  inside 
the  oval,  and  near  these  initials  appears  the  number  "I." 
Just  below  the  oval,  in  very  minute  capitals,  "  A.  Delatre 
Imp.  R.  S.  Jacques  265.",  and  under  that  the  title  "  Le 
Stryge." 

Presumably  a  later  state  than  Burty's  4th. 

Regarding  the  figure  "  I,"  Wedmore  says :  "  In  this  way 
Meryon  numbered  in  their  last  regular  tirage,  and  always  in- 
side the  line  of  the  picture,  the  twelve  principal  pieces  of  his 
set  of*  Paris,'  of  which  twelve  this  is  the  first." 

45  Le  Petit  Pont* 

B.  38.    W.  8. 

a  1st  state.  Before  the  initials  "C.  M."  in  the  upper 
right  hand  corner,  and  before  the  bottom  marginal  line. 

Signed  in  pencil:  "C.  Meryon  1850." 

b  2d  state.  With  the  initials  and  the  bottom  marginal 
line. 

The  later  states  have  title  and  other  lettering. 
On  green  paper. 

46  L'Afche  du  Pont  Notre-Dame, 

B.  39.    W.  9. 

a  1st  state.  B.'s  1st  state,  described  as  "  with  cross-hatch- 
ing on  the  under-side  of  the  arch." 


30 


ETCHINGS. 


b  2d  state  (W.'s  ist).  With  "  C.  Meryon  del.  sculp,  imp. 
Rue  ne.  St.  Etienne  du  Mont  26"  below,  on  the  left,  and 
"  Paris  1853  "  on  the  right. 

Both  on  green  paper. 

47  La  Galerie  de  Notre-Dame* 
B.  40.  W.  10. 

a  Trial  proof.  Houses  and  sky  seen  betv/een  the  arches, 
and  the  upper  one  of  the  two  jackdaws  flying  between  the 
columns,  all  unfinished. 

Pencil  note:  "Tr^s  belle  6preuve  d'essai  par  Ch.  Meryon. 
Aug.  Delatre." 

On  green  paper. 

b  1st  state.  (B.  2d.)  Unfinished  portions  now  com- 
pleted ;  some  of  the  birds  in  the  distance  erased. 

Below,  on  the  left:  "  C.  Meryon  del.  sculp.  1853  ";  on  the 
right:  "Imp.  Rue  Ne.  St.  Etienne-du-Mont,  26." 

c  Same,  on  green  paper. 

Subsequent  states  have  title  and  some  chang*^s  in  lettering. 

4S  La  Rue  des  Mauvais  Gargons* 
B.  41.    W.  II. 

^  1st  state,  before  letters. 

b  2d  state.  With  "  Meryon  Imp.  Rue  Ne.  St.  Etienne- 
du-Mont  26  "  along  the  right  side  of  the  plate,  inside  of  the 
marginal  line,  "  M  "  in  the  lower  left  hand  corner,  on  a  stone, 
and  at  the  top  12  lines  of  verse,  beginning :  "  Quel  mortel 
habitait,"  with  date  "Paris,  Mars  LIV." 

Pencil  note,  "  demoli.  185 1," 

"  Both  states  are  rare." —  Wedmore. 

49  La  Tour  de  V  HorIo§;e» 

B.  42.    W.  12. 

a  Trial  proof,  before  all  letters,  and  before  marginal  lines. 
<5  1st  state.    With  "  C.  M."  in  the  right  upper  corner. 
On  green  paper. 

c  3d  state.  With  marginal  lines  at  bottom  and  on  both 
sides. 

d  4th  state.  Title  as  above,  and  "  A.  Delatre  imp.  Rue  S. 
Jacques,  265."    Initials  "  C.  M."  replaced  by  Meryon's  mon- 


ETCHINGS.  31 

ogram.  Figure  "  5  "  in  left  lower  corner.  Various  changes  : 
Figures  added  on  the  scaffolding  in  the  center,  the  round 
building  on  the  bridge  in  the  distance  to  the  right  has  been 
removed,  two  beams  of  hght  stream  through  windows  across 
the  center  of  the  picture,  the  roof  of  the  "Tour,"  hitherto 
white,  is  now  shaded,  signs  are  put  up  against  the  buildings, 
and  there  are  changes  on  the  bridge. 

50  TourcUc,  Rue  dc  la  Tixeranderie,  demolie 

en 

B.  43.    W.  13. 

a  Proof  before  letters.    (B.  1st  state.) 
Pencil  sketch  of  a  part  of  the  "  Tourelle  "  on  the  same 
sheet. 

3  1st  state  (B.  2d).  With  "  C.  M."  in  the  right  upper 
corner. 

On  green  paper. 

51  Samt-Etienne-du-Mont» 

B.  44.    W.  14. 

a  Trial  proof. 

d  1st  state  (B.  1st).    «  C.  M."  in  right  upper  corner. 
Un  green  paper. 

^  2d  state  (B.  2d.)  The  arms  and  head  of  the  workman 
on  the  lowest  planks  of  the  scaffolding  are  erased 

d  5th  state.  (B.  4th. )  The  arms  of  the  workman  are  re- 
A  f?!,  '  fgam/eaching  upward,  but  with  the  hands  far  apart. 
At  the  top  of  the  building  to  the  right:  "St.  E^e  du  Mont 
et  1  ancien  College  de  Montaigu."  To  the  left,  below,  on  one 
of  the  posters  on  the  wall:  "A.  Delatre  imprimeur  taille- 
douce  eau-forte  R.  S  Jacques  265."  In  the  left  lower 
corner  the  number  "  7,"  Slight  additional  work  on  the  fa- 
gade  of  the  church. 

For  drawing,  see  No.  iii. 

52  La  Pompe  Notre-Dame*  1852* 

B.  45.    W.  15. 

yon  Tss^i  ^^^^^^  ^Qtters.   Signed,  in  pencil,  "  C.  IMer- 


32 


ETCHINGS. 


b  Proof  (B.  1st  state).  Below,  reversed  :  "  C.  M^ryon, 
ft. — R.  Nve.  St.  Etienne-du-Mont,  26"  on  the  right,  and 
"  1852  "  on  the  left.    On  green  paper. 

c  1st  state  (B.  2d).  Inscription  now  properly  placed: 
**C.  Meryon  ft.— Imp.  R.  Ne.  St. -Etienne-du-Mont  26" 
on  the  left,  and  "  1852  "  on  the  right. 

**  The  plate  is  now  enriched  with  burin  work,  and  is  in  its 
finest  state." — Wedmore. 

d  2d  state  (B.  3d).  Added  lettering:  "Public  par  I'ar- 
tiste^'  under  left  corner,  "La  Pompe  Notre  Dame"  in  the 
centre  below,  and  Impe  A.  Delatre  R.  St.  Jacques  176" 
under  right  corner. 

e  4th  state  (B.  5th).  Roof  of  the  "Pompe"  shaded. 
Lettering  now  replaced  by  "La  pompe  Notre  Dame  1852" 
(in  small  capitals)  and  "A.  Delatre  Imp.  R.  S.  Jacques  265  " 
below,  "  CM."  in  right  upper  corner,  and  "  8  "  in  left  lower 
corner. 

53  The  Little  Purnp^ 

B.  46.    W.  16. 

A  fantastical  border  surrounding  14  lines  of  verse,  begin- 
ning "  C'en  est  fait,"  with  date  below  "  MDCCCLIV." 

"  Composed,"  says  Burty,  "as  a  frontispiece  to  the  second 
part  of  the  Paris  Views." 

a  Trial  proof.    Margin  of  copper  not  cleaned. 

b  Proof.    (B.  1st  state.)    Before  work  noted  under 

c  Only  issued  state.  Title  as  above,  and  "  Meryon.  C. 
M.  f.  Imp.  R.  Ne.  St.  Etienne-du-Mont  26."  Various 
changes :  the  water  spouted  by  the  dolphins  above  and  the 
overflow  from  the  cups  both  more  strongly  accentuated,  more 
shading  on  the  pump,  and  rays  issuing  from  the  letters  "P" 
and  "  N.D." 

54  Le  Pont  NeuL 

B.  47.   W.  17. 

a  Trial  proof.  Sky  and  houses  in  centre  unfinished ;  no 
smoke  rising  from  the  chimneys ;  the  tall  chimney  to  the  right 
is  wanting ;  no  birds  in  the  sky. 

Before  marginal  line  at  bottom. 


ETCHINGS. 


33 


3  1st  state.  (B.  4th.)  Portions  wanting  in  preceding  are 
present  here.  Below,  on  the  left,  "C.  Meryon  del.  sculp. 
1853  "  ;  on  the  right,  "  Imp.  A.  Delatre  Rue  de  la  Bucherie 
No.  6."  Below,  eight  lines  of  verse,  beginning"  Ci  git  du 
vieux  Pont-Neuf." 

On  green  paper. 

<r  2d  state.     (B.'s  5th.)     The  verses  have  been  erased; 
traces  of  the  same  distinctly  visible. 
d  Same^  on  green  paper. 

"  In  this  state,  with  the  dry-point  work  just  finished,  are 
the  finest  impressions  generally." — Wedmore, 

e  3d  state.  (B,  6th.)  The  tall  chimney  to  the  right,  and 
some  figures  in  the  center,  on  the  bridge,  have  disappeared ; 
the  houses  in  the  center  have  been  re-drawn  and  are  much 
smaller;  there  are  heavier  clouds  in  the  sky.  All  inscrip- 
tions erased,  and  replaced  by  the  title  alone,  "  Le  Pont-Neuf," 
in  tall  light  capitals. 

/'4th  state,  (B.  6th.)  The  title  is  now  in  quite  small 
capitals,  followed  by  **  1850,"  and  "A  Delatre  Imp,  R.  St. 
Jacques  265,"  below.  C.  M.^'  in  left  upper  corner,  and 
*^9"  in  left  lower  corner. 

For  drawings,  see  No.  112. 


55  Le  Pont-au-Changfe* 

B.  48.    W.  18. 

a  Trial  proof.    Without  sky  and  buildings  in  the  distance 
and  before  much  added  work. 
On  green  paper. 

b  Proof  before  letters  (B.  2d  state).    Sky  and  buildings 
are  now  put  in.    The  balloon  Speranza  is  rising  on  the  left. 
On  green  paper. 

c  1st  state  (B.  3d);  or,  according  to  a  pencil  note  in 
French,  intermediate  state  before  the  re-biting  in  the  back- 
ground  and  the  removal  of  the  traces  of  burr.  Below,  on  the 
left :  "  C.  Meryon  del.  sculp,  mdcccliiii  ";  on  the  right : 
"Imp.  R.  Neuve  St.  Etienne-du-Mont  26." 

d  Same  as  preceding,  on  green  paper. 

e  2d  state  (B.  6th).  The  sky  has  been  changed:  the  two 
columns  of  smoke  no  longer  curl  up  over  the  right  end  of 
the  bridge,  the  balloon  has  disappeared,  there  is  a  large  cres- 
cent moon,  and  flocks  of  large  birds  hover  in  the  air.  The 


3 


34 


ETCHINGS. 


title,  "Le  Pont-au-Change,"  is  added  below.  Meryon's  mon- 
ogram in  left  upper  corner. 

/  3d  state  (B.  4th).  The  large  birds  have  disappeared, 
there  are  several  small  balloons,  all  lettering  below  the  etch- 
ing, except  the  title,  has  disappeared. 

This  is  presumably  W.  3d,  although  Wedmore  notes  that 
the  plate  bears  the  number  10,  which  is  not  the  case  here. 
(See  next  number.) 

£■  4th  state  (B.  8th).  The  balloon  at  the  upper  end  of 
the  moon,  as  well  as  some  quite  small  ones,  have  disap- 
peared ;  others  are  added,  especially  three  large  ones,  lettered 
*^  [Vas]co  de  Gama,  Pari[s],"  etc.  Number  "10  "appears 
in  the  lower  left  corner,  and  "  A.  Delatre  Imp,  R,  S.  Jacques 
265  "  is  added  underneath  the  title. 

See  also  No.  113. 

56  UEsp€rance* 

B.  49.   W.  19. 

Verses  to  accompany  the  foregoing  plate.  28  lines,  be- 
ginning: "  Leger  Aerostat,  6  Divine  Esperance."  Under- 
neath, on  the  left,  appears :  "  ( Au  bas  de  la  Xe  des  ^  Eau- 
fortes  sur  Paris')";  and  on  the  right:  "  C.  M.  Mars 
MDCCCLIV." 

57  La  Morgue* 

B.  50.    W.  20. 

1st  state.    Before  all  letters. 

Very  rare.  The  copy  here  shown  has  verses  in  pencil 
which  vary  slightly  from  those  catalogued  under  No.  58. 

d  2d  state.  Below,  on  the  left:  "  C.  Meryon  del.  sculp, 
mdcccliv  "  ;  on  the  right :  "  Imp.  Rue  neuve  St.  Etienne-du- 
Mont.  no.  26." 

Rare.  On  green  paper. 
5th  state.  The  left  arm  of  the  corpse  being  carried  on 
the  left  is  now  extended.  The  previous  lettering  is  removed, 
and  below,  in  the  centre,  there  appears :  "  La  Morgue.  1850," 
and  underneath:  "A.  Delatre  Imp.  R.  S.Jacques.  265." 
On  the  houses  appear  the  inscriptions :  "  Hotel  des  trois 
balances  meuble"  and  Sabra  Dentiste  du  Peuple "  and 
"  Imagerie  religieuse.  Exportation.'^  Meryon's  monogram 
in  left  upper  corner,  and  "  11  "  in  right  upper  corner. 

For  drawings,  see  No.  114. 


ETCHINGS. 


35 


58  UHotellerie  de  la  Mort* 
B,  51.    W.  21. 

A  set  of  melancholy  verses,  referring  to  the  foregoing  plate 
of  the  Morgue,  62  lines  in  all,  beginning  "  Venez,  voyez,  pas- 
sants!"  Underneath:  "  C.  Meryon  ft.  MDCCCLIV.  R. 
Ne.  St.  Etienne  du  Mont.  no.  26." 

On  two  small  plates. 

Burty  and  Wedmore  both  say  that  this  is  printed  in  two 
colors.  The  present  copy,  called  an  "  epreuve  "  in  a  note  in 
ink  on  the  same  by  Meryon  (dated  Paris,  25  Jan.,  1855),  is 
in  black. 


59  UAhsidc  dc  Notre  Dame  de  Paris^ 

B.  52.    W.  22. 

a  Proof.  Before  completion  of  upper  marginal  line  and 
of  sky  to  the  right. 

^  1st  state,  before  any  letters.  Marginal  line  and  sky  com- 
pleted. 

"  Of  extreme  rarity."  —  Wedmore, 

€  2d  state.  Underneath,  on  the  left :  "  C.  Meryon.  del. 
sculp,  mdcccliv";  on  the  right:  "Imp.  Rue  neuve  St. 
Etienne-du-Mont  26." 

On  green  paper.    Signed  "  Aug.  Delatre,"  in  pencil. 

d  5th  state  (B.  4th).  Previous  lettering  replaced  by 
"  L'abside  de  Notre-Dame-de-Paris,  1853.  A.  Delatre  Imp. 
R.  S.  Jacques.  265."  Meryon's  monograph  in  left  upper  cor- 
ner, and  "  12  "  in  left  lower  corner. 

60  O  Fin  Degustateuf  de  Tout  Morceau  Go- 
thique/^ 

On  a  small  plate,  6  lines  of  verse  to  accompany  the  "Ab- 
side,"  beginning  as  above.  Signed  "  C.  M.  mdcccliv.  Notre 
Dame."  On  the  right  side,  running  upward:  "Imp.  Mer- 
yon.   Rue  neuve  St.  Etienne  du  Mont  no.  26." 

Burty  and  Wedmore  both  quote  these  lines  (beginning 
O  toi  "  instead  of  "  O  Jin  ")  as  written  on  a  few  early  impres- 
sions of  the"Abside,"  but  do  not  catalogue  them  in  this 
etched  form. 


36 


ETCHINGS. 


6 1  Le  Tombeau  dc  Moliere*     C.  Meryon  ft. 

MDCCCLIV.  Imp,  R.  Ne.  St.  Etienne  du 
Mont.  no.  26. 

B.  53.    W.  23. 

The  trial  proof  appears  on  the  same  plate  with  the  "  Old 
Gate  of  the  Palais  de  Justice."    (See  No.  40.) 

Tail-piece  to  the  set  of  views  of  Paris.  For  drawings,  see 
No.  115. 

62  UAttelage* 

26  lines  of  verse,  beginning:  "  Un  cheval  se  trainait  triste 
et  tete  baissee." 

Date  "  1856  "  added  in  pencil,  and  pencil  note  (in  French) : 
"  Unpublished  plate  by  Ch.  Meryon,  in  possession  of  Ma- 
dame the  widow  Pequegnot."  Below,  a  note  in  ink;  "The 
widow  of  Pequegnot  says  she  saw  Meryon  do  this  plate  at  her 
husband's  house,  a  trial  of  that  sort  of  thing."  Not  men- 
tioned by  B.  or  W. 

63  Estampes  Anciennes^  Rochoux^  Qaai  de 

PHorloge,  No*  i9* 
B.  54.    W.  47. 

The  business  card  of  a  print-seller,  printed,  as  Burty  has 
it,  "in  two  colours,  red  and  black, by  means  of  two  coppers." 

a  Trial  proof,  from  the  plate  printed  in  red,  on  which  the 
lettering  is  :  "E  Rochoux  Q  No.  19."  Figures  and  border 
not  shaded.    A  lamp  under  the  arch  at  the  bottom. 

d  1st  state  (B.  1st  trial  proof).  Figures  and  border 
shaded.    Lamp  in  blank  space  under  bridge. 

c  state  (W.  and  B.  2d).  The  lamp  is  replaced  by  a 
galley.  The  cables  forming  the  framework  are  knotted  at 
the  lower  angles,  and  have  become  heavier  below. 

64  TomdlCf  Rite  de  FEcoIe  de  Medecine^  22* 

B.  55.   W.  24. 

a  Proof,  before  all  letters  whatever,  excepting  the  inscrip- 
tions on  the  houses,  and  before  the  sky.    Upper  boundary 


ETCHINGS. 


37 


line  arched  in  the  middle,  and  in  the  arch  appears  Meryon's 
monogram  and  the  figure  of  oppressed  Innocence.  The  fig- 
ures in  the  cart  are  those  of  two  women. 

See  Wedmore  in  regard  to  proofs.  This  one  apparently 
comes  between  B.  2d  and  3d  states. 

b  1st  state  (B.  4th).  With  sky.  "  Fiat  lux"  is  inscribed 
on  the  book  held  by  Truth,  "  Cabat "  is  added  to  the  inscrip- 
tions on  the  Tourelle,  and  below  the  etching  the  title  "  Tou- 
relle  dite  de  Marat,"  with  the  legend  "  Sainte,  inviolable  ve- 
rite  [etc.],"  and  "  Imp.  Pierron  r.  Montfaucon  I,  Paris." 

c  2d  state.  Title  changed  to  "Tourelle  Rue  de  I'Ecole  de 
Medecine,  22.    Paris."    Printer's  line  remains. 

Not  mentioned  by  W.  and  B.  Comes  between  W.  1st  and 
2d.  Pencil  copy  of  the  legend,  by  Meryon  {inviolable  being 
changed  to  indissoluble^^  and  underneath,  in  pencil :  "A  Mon- 
sieur Philippon,  C.  Meryon,  6  Juillet  1861.    26  Juin." 

d  Proof,  before  letters,  of  W.'s  4th  state.  Arch  in  top 
border  line  has  been  taken  out,  the  figures  in  the  sky  have 
been  replaced  by  two  birds.  The  sky  is  full  of  heavy  clouds, 
rays  striking  across  Meryon's  monogram  in  right  upper  cor- 
ner. 

Very  rare.    Not  mentioned  by  B.  or  W. 
e  Same,  on  parchment. 

/  W.'s  4th  state  (B.  7th).  Inscription  added  below: 
"Tourellei?//^^^  I'Ecole  de  Medecine,  22.  Paris  MDCCCLXI. 
Gazette  des  Beaux  Arts.  Imp.  Pierron  r.  Montfaucon  I. 
Paris." 

For  drawings,  see  No.  i  t[6. 


65  Rue  des  Chantres,  Paris.  MDCCCLXIL 
B.  55.   W.  25. 

a  Trial  proof,  before  sky,  the  bells,  etc.,  and  the  birds. 
B's  1st  state,  but  with  a  small  animal  at  the  top  of  the 
belfry  spire. 

<5  1st  state  (B.  3d).  Before  the  title.  Sky  and  birds  in- 
serted, and  the  animal  on  the  spire  has  become  larger.  Above, 
the  border  line  is  arched  over  the  letters  "J.  B."  on  an  em- 
blematic background,  flanked  by  two  bells. 

Rare. 

c  2d  state  (B.  4th).  With  title,  as  above,  and  "Chez 
Rochoux  Quai  de  I'Horloge,  19.  Pierron  Imp.  r.  Montfau- 
con I."    Animal  on  spire  has  become  smaller  again. 


38 


ETCHINGS. 


"  This  plate  was  destroyed  after  one  hundred  impressions 
had  been  taken  off." —  Burty. 


66  Carved  Doorway  of   an  Old  House  at 

Boufges* 

B.  57.    W.  33. 

<3;  1st  state.  Etched  portion  of  plate  measures  61%  x  4I 
inches. 

Pencil  note  by  Seymour  Haden  :  "  I  saw  M^ryon  at  work 
on  this  plate.  S.  H."  This  was  in  1864,  says  Burty,  who 
also  says  that  it  was  originally  etched  in  185 1,  and  that  few 
impressions  were  ever  taken  from  it. 

b  2d  state.  The  work  has  evidently  been  burnished  out 
all  around,  reducing  the  etched  portion  to  6  x  3!  inches. 
There  are  added  horizontal  cross-lines  in  the  shadow  on  the 
door  and  vertical  ones  in  the  shadow  thrown  by  the  steps  on 
the  right  against  the  wall;  also  light  diagonal  dry-point  lines 
all  over  the  plate. 


67  La  Rue  des  Toiles^  a  Bourgfes* 

B.  58.    W.  35. 

a  Trial  proof,  according  to  W.  (B.'s  1st  state).  "185.-?" 
on  a  chimney  to  the  right.  In  the  left  foreground,  a  dog 
scratching  up  the  dirt.  Below,  on  the  left :  "  C.  Meryon  del. 
sculp.  1853";  on  the  right:  "Rue  Ne.  St.-Etienne-du- 
Mont.  26." 

On  green  paper. 

b  3d  state  (B.  3d).  The  dog  has  been  replaced  by  a  sol- 
dier and  two  women.  **  1853  "  has  disappeared  from  the 
chimney,  as  has  also  the  inscription  below. 

68  Ancienne  Habitation  a  Bourgfes* 

B.  59.    W.  34. 

«  1st  state.  Before  title.  Houses  to  the  right  unfinished. 
"  C.  M."  in  left  lower  corner. 


ETCHINGS. 


39 


This  comes  between  B.  1st  and  2d.  The  full  plate  here 
measures  loji  inches  in  height  and  5^  width,  as  in  B. 
1st.    Pencil  note  :  **2e  etat  avec  pte.  s^che  et  burin." 

d  Same  as  preceding,  but  the  plate  has  been  cut  down  to 
9^2  X  5^  inches.    Etched  portion  not  reduced  in  size. 

c  2d  state.  Title  added  below.  Houses  to  the  right  now 
finished,  and  some  roughly  indicated  plant  ("  a  vinestock," 
says  Burty)  on  the  last  two.  The  chimney  on  the  right  now 
sends  up  three  columns  of  smoke,  instead  of  one  up  and  one 
down,  as  before.  Work  in  lower  portion  of  sky  has  been 
reduced. 

This  is  the  4th  state  of  Burty,  who  adds  :  "  In  this  condi- 
tion published  in  the  *  Gazette  des  Beaux-Arts,'  after  an  edi- 
tion (a  3d  state)  had  been  struck  off  on  Dutch  paper  for  the 
subscribers  to  the  work."    For  drawing,  see  No.  117. 

69  Le  Pilote  de  Tonga* 

B.  60.    W.  36. 

A  decorative  border  enclosing  a  record  of  the  achievements 
of  a  pilot  at  Tonga,  written  in  a  sort  of  poetic  prose,  begin- 
ning *' Nous  partions  de  Tonga  sur  un  navire  de  guerre." 
2d  state,  with  inscription  at  bottom  :  "  Souvenir  de  voyage 
MDCCCXLII-VII.  A.  Delatre  Imp.  rue  Fg.  St.  Jacques 
No.  81."  ^        J  4 

70  La  Malingre  Cryptogame* 

B.  61.    W.  37. 

a  Proof.    (B.  2d  state).    Before  the  background.  Mer- 
yon's  monogram  in  right  lower  corner. 
d  Same,  monogram  in  red. 
c  1st  state.    With  background  of  leaves. 
Monogram  in  black. 

d  2d  state.  With  title,  and  "  Pierron  Imp.  MDCCCLX." 
In  left  upper  corner  "N.  Z.,"  right  upper  corner 
"  MDCCCXLV,"  left  lower  corner  "  P."  Monogram  in  red. 

"This  plate  .  .  only  gave  off  a  few  impressions." — Burty. 


71  Head  of  a  New  Holland  Dog* 
B.  62.     W.  38. 


40  ETCHINGS. 

72  Noiivene-Z^Iande*  Greniers  indigenes  et  hab- 

itations a  Akaroa  (presqu'ile  de  Banks).  1845. 
B.  63.    W.  39. 

a  Trial  proof.  Before  the  sky,  which  is  drawn  in  pencil  in 
the  present  copy. 

/5  1st  state.  With  sky.  Before  title.  Title  supplied  in 
pencil  by  Meryon,  who  calls  this,  "  lere  epreuve  avant  la 
lettre." 

c  2d  state.  With  title,  Meryon's  monograph  in  right  upper 
corner,  and,  above  it,  *'  Voyage  de  la  corvette  le  Rhin." 

73  Voyage  de  la  Corvette  ^Me  Rliin/^— Nou- 

velle  Caledonie  —  Grand  case  indigene  sur  le 
chemin  de  Ballorde  a  Poepo,  1845. 
B.  64.    y<!,  40. 
a  Trial  proof,  before  letters. 

<5  1st  state.  Before  the  title.  Meryon's  monogram  near 
right  lower  corner. 

74  Oc£anie*    llots  a  Uvea  (Wallis)  Peche  aux 

Palmes.  1845. 
B.  65.    V^.  41. 

a  1st  state  (B.  3d).  Before  all  letters.  Has  the  cross- 
hatching  in  the  sky. 

b  2d  state  (B.  4th).  With  title,  as  above,  "  C.  M.  ft. 
1863.  Imp.  Pierron  r.  Montfaucon  i,  Paris,"  underneath, 
and  "Voyage  du  Rhin  "  over  right  upper  corner. 

For  drawing,  see  No.  118. 

75  Notivelle  Z^Iande*    Presqu^iIe  de  Banfcs^ 

J 845*  Pointe  dite  des  Charbonniers,  a  Akaroa. 
Peche  a  la  Seine. 
B.  66.    W.  42. 
a  1st  state  (B.  2d).    Before  letters. 

b  2d  state.    With  title,  as  above,  "  C.  M.  del.  et  sculp. 


ETCHINGS. 


41 


1863.  Pierron  Imp.  r.  Montfaucon  I."  underneath,  and 
**  Voyage  du  Rhin  "  over  right  upper  corner. 

Comes  between  B.  2d  and  3d.  B.  3d  has  one  boat  instead 
of  two,  and  was  exhibited  at  the  Salon  of  1864. 

76  Divers  pieces  gravies*    Collecte,  gain,  butin 

de  course  et  de  chasse  faits  au  mouillage  et  a 

la  mer  pendant  le  voyage  a  la  Nouvelle  Z6- 

lande  accompli  de  MDCCCXLII  a  XLVI 

sur  le  Navire  Rhin^  sous  les  ordres  de  M^.  le 

Capitaine  de  Vaisseau,  mort  contre-Amiral  en 

1852.    A.  Berard,  commandant  la  station  a 

Akaroa,  Presqu'ile  de  Banks. 

B.  67.    W.  46. 

Title  of  the  New  Zealand  set,  enclosed  in  a  decorative 
frame. 

a  Proof.  Before  any  letters.  The  rolling  band  at  the  top 
is  not  shaded.  The  small  frames  inside  of  the  border  are  in- 
dicated on  the  right  hand  side. 

Below,  "  4  juillet  66,"  in  pencil,  by  Meryon. 

d  The  complete  title-page.  Below  the  title,  Meryon 's 
monogram  and  "  1866."  Underneath  the  etching,  at  the 
left:  "  Paris";  at  the  right:  "C.  M.  imp.  rue  Duperr^  20." 

77  Nouvelle  Z^Iande*  Presqulle  de  Banks.  Etat 

de  la  petite  colonic  Fran9aise  d* Akaroa  vers 
1845  —  Voyage  du  Rhin. 
B.  6Sa.    W.  43. 

a  Trial  proof,  before  the  clouds,  which  are  drawn  in  pen- 
cil in  the  present  copy. 

"II  Aout  60"  penciled  on  the  margin. 

d  The  published  state,  with  title  as  above,  and  "C.  M. 
del.  sculp.  1865.  16  Aout.  Paris,  Pierron  Imp.  r.  Mont- 
faucon I." 

For  drawing,  see  No.  119. 

4 


42  ETCHINGS. 

7^  La  Chatimiere  du  Colon*   Vieux-Soldat  k 
Akaroa  (N^^Je  Zelande)  1845. 
B.  6Sd.    W.  44. 

a  Trial  proof  before  sky.  Mountains  in  background  in 
outline. 

3  1st  state,  before  letters.    Plate  completed. 
c  2d  state,  with  title  as  above,  and  "  C.  M.  1866.  Pierron 
Impr" 


79  La  Harpe  Oasienne*  Pro-volant  des  ties  Mul- 

grave  (Oceanie).    Voyage  du  Navire  Rhin 
(1842  a  46).    Paris,  1866. 
B.  69.    W.  45. 

a  Trial  proof.    Before  the  sky.    Pencil  note  :  "  Lundi 
Jll.  '66."  ^ 

d  First  state.  Before  letters,  with  sky.  Pencil  note : 
"  (2)  31  juillet  1866." 

c  2d  state.  With  Meryon's  monogram,  printed  in  red, 
near  the  right  upper  corner. 

Below,  in  ink  :  *' A  Mademoiselle  Gabrielle  Niel —  Faible 
hommage  de  son  tout  devoue  et  tres  pespectueux  serviteur 
C.  M.    P.    25  aout  1866." 

d  3d  state.  The  heavy  **i  "  to  the  left  of  the  vessel,  pres- 
ent in  the  three  foregoing  impressions,  has  been  taken  out. 
With  title,  as  above,  and  "C.  M.  imp.  r.  Duperre  20." 

No  connection  can  be  found  between  these  and  the  states 
noted  by  Burty.  Wedmore  gives  no  states.  For  drawing,  see 
No.  120. 

80  Petit  Pfince  Dito  (Bal^.e  Nei?^  Cale.) 

B.  70.    W.  59. 

Under  the  plate,  11  lines  of  verse, headed  "  Fantasia."  At 
the  bottom  :  '*  C.  M.  fit  Paris  F^vrier  1864.  Pierron  Imp. 
Paris." 


ETCHINGS. 


43 


81  A  Monsieur  Eugfene  Blery* 

B.  71.    W.  48. 

16  lines,  beginning  "A  vous,  Blery,  mon  Maitre."  Un- 
derneath, "C.  Meryon  ft.  Imp.  rue  Ne.  St.  Etienne  du 
Mont  26." 

82  A  Monsieur  Eugene  BUty* 

W.  48^. 

Same  verses  as  the  preceding,  in  smaller  letters  on  a 
smaller  plate.  Underneath:  "C.  M.  ft.  Meryon  Imp.  R. 
Ne.  St.  Etienne  26." 

First  letter  of  each  line,  *•  Blery,^'  and  "  C.  M."  printed  in 
red.  Third  line  from  end  reads :  "  Des  voeux  que  fait  son 
coeur  "  instead  of"  De  ce  que  sent  son  coeur." 

83  Loi  Lunaire* 

B.  72.    W.  49. 

a  Proof.  No  lettering  within  the  border.  C  "  and  "  M  " 
in  the  lower  border. 

d  Finished.  With  the  verses,  beginning  "  Si  j'etais  Dicta- 
teur,"  and  "C.  Meryon  fit.  Paris,  MDCCCLVL  Imp.  R. 
F.  St.  Jacques  no.  81."  Two  stars  in  left  upper  and  left  lower 
corner,  instead  of  one  in  each  as  in  proof.  Star  in  right 
lower  corner  raised,  circle  inserted  in  centre,  just  below  the 
inner  frame,  etc.    Different  publication  line  given  in  B. 

c  Same  as  preceding,  colored  by  hand,  presumably  by  Mer- 
yon.   For  drawings,  see  No.  121. 

W.  49^25,  *'  a  variation  of  the  preceding  plate,"  is  not  shown 
here. 


84  Loi  Lunaife* 
B.  73.   W.  50. 

A  single  box  or  coffin  (instead  of  two,  as  in  the  preceding 
plate)  with  another  version  of  the  law. 

«  1st  state.  No  letters  below  the  lower  marginal  line. 
Meryon's  monogram  in  right  upper  corner. 


44 


ETCHINGS. 


Below,    19  Sept,"  in  ink,  by  Meryon. 
b  2d  state.    Below,  "  C.  M.  Imp.  r.  Duperre  20.  Paris 
D  66."    Monogram  now  in  left  upper  corner. 
Descriptions  in  B.  and  W.  are  inadequate. 

85  LoiSoIaife*  C.  Meryon  fit.  Paris,  MDCCCLV. 

Imp.  R.  F.  S.  Jacques  81. 

B.  74.    W.  51. 

Underneath,  addition  in  ink,  by  Meryon :  "  mais  I'eau, 
I'eau  froide,  glacee,  que  j'ai  oublie.    C.  M." 

"  Trials  for  engraving  in  relief,  by  the  aid  of  which  bank- 
notes may  be  forged "  (B.  75  and  76,  W.  52  and  53)  not 
shown  here. 

86  Rebus^   G-git  La  Vendetta  swrannee* 

B.  77-    W.  5.5. 

An  anvil  on  a  block,  upon  which  latter  appears  a  woman, 
with  a  tub  in  front  of  her,  washing  the  letter  D.  "  Annee  " 
below  the  block.  The  whole  enclosed  by  a  circle,  round 
which  "MDCCCLXIII."  Underneath:  "  C.  M.  fecit. 
Pierron  Imp.  r.  Montfaucon  i." 

a  Printed  in  black. 

b  Printed  in  gold. 

87  Rebus^  of  which  the  subject  is  De  Morny* 

W.  56. 

Two  coast  views,  a  coffin,  and  a  horn  enclosing  a  banquet 
scene.  At  the  bottom :  "  Pierron  imp.  Paris.  Janvier 
1866  "  and  Meryon's  monogram  in  the  centre. 

Not  in  Burty. 

88  Rebus*     Beranger  ne  fut  veritablement  fort, 

car  il  n*eut  jamais  la  clef  des  chants. 
B.  78.    W.  57. 

A  bird,  eight  lines  of  verse,  a  table,  a  fort,  verses,  inscrip- 
tions, etc. 


ETCHINGS. 


45 


a  Trial  proof,  before  all  letters. 
On  India  paper. 

b  Published  state,  with  "  C.  M.  fecit  1863.  Chez  Rochoux 
Quai  de  I'Horloge,  19.    Imp.  Pierron,  r.  Montfaucon  i." 

89  Allegfofical  Design  Forming  a  Fr ame» 

B.  79.    W.  54. 

All  sorts  of  proofs  and  states  exist,  and  it  seems  futile  to 
attempt  to  number  those  here  shown,  and  unnecessary  to 
record  all  the  many  trifling  changes. 

a  Trial  proof.  The  inner  frame  is  not  yet  cut  out.  The 
open  book,  "Code  Lois,"  is  upheld  by  a  lynx. 

On  the  margin,  "  30  Jv.  1862,"  in  pencil,  by  Meryon. 

b  Titles  on  the  backs  of  the  books  and  other  lettering  now 
added.  Meryon's  monograph  below  the  book  in  the  centre. 
Underneath,  in  the  centre  :  "  Paris  MDCCCLXII  " ;  on  the 
left:  "  Meryon  inv.  sculp.";  on  the  right:  "Meryon  Imp.  r. 
Duperre  20."  Printed  with  a  second  plate  in  the  centre, 
showing  the  portrait  of  M.  Gueraud,  a  printer  and  book- 
seller. (See  No.  loi  in  the  present  catalogue.) 

B.  4th  state,  plus  the  portrait.    Printed  in  black  and  red. 

c  The  book  "  Code  Lois  "  is  now  opened  flat,  and  a  sword 
lies  before  it,  while  the  lynx  has  disappeared. 

Comes  between  B.  5th  and  6th. 

d  Same  as  the  preceding,  partly  printed  in  red. 

e  The  inscription  underneath,  on  the  right,  has  been  re- 
placed by  "  A.  Beillet  Imp.  Quai  de  la  Tournelle  35."  The 
portrait  again  appears  in  the  centre,  now  with  the  initials 
"  C.  M."  on  the  left,  over  the  shoulder. 

f  Changes  in  the  middle  books  on  the  right,  the  half-hidden 
skull  on  one  has  disappeared. 

Some  red  ink  used. 

g  Same  as  the  preceding.  Red  ink  applied  to  different 
portions. 

90  Allegorical  Drawing  for  the  title-page  of  a 

catalogue  of  the  works  of  the  engraver,  Thomas 
de  Leu. 
B.  80.    W.  61 

a  Trial  proof,  before  all  letters.    The  horizontal  shading 


46  ETCHINGS. 

of  the  background  and  shading  elsewhere  is  not  finished. 
Monograms  "A.  M.'»  and  "J.  (?)  S."  wanting  at  the  top. 

b  2d  state.  (B.'s  2d.)  Plate  finished  and  with  title; 
"  Thomas  de  Leu.  Essai  du  catalogue  de  son  oeuvre  ppecede 
Xsicn  d'une  notice  historique  par  Thomas  Arnauldet/ and 
other  lettering.  Underneath:  "C  M.  del.  et  sculp.  1866. 
Imp.  Pierron.  r.  Montfaucon  I.  Paris." 

No  states  given  by  W.  ,       r  ^-u 

"  This  lettering,  as  well  as  that  of  a  large  number  ot  the 
etchings  which  he  either  made  or  retouched  after  his  return 
from  the  hospital  at  Charenton,  were  not  written  m  by  him, 
although  he  was  an  adept  at  handling  the  burm,  m  httle 
strokes.  He  told  me  that  he  had  them  done  by  an  artist  who 
was  especially  good  at  this  work,  but  he  never  told  me  the 
name."— 

B.  81  is  a  repetition  of  B.  30. 

91  Le  Mlnistere  de  la  Marine^ 
B.  82.    W.  26. 

a  Trial  proof,  before  all  letters.  With  all  the  fantastic  fig- 
ures in  the  air,  but  before  the  sky  and  before  the  sword  on 
the  ground  to  the  right.  ^       n  • 

With  "  10  Tvr.  1865.  fipreuve  naturelle.  C.  M.  in  pen- 
cil, by  Meryon.  Comes  between  Burty's  "trial  proof  and 
"  1st  state."  ^    ,  . 

b  Same  as  preceding,  with  clouds  drawn  m  pencil. 

Pencil  note:  "Unique."  .  ^ 

c  1st  state.  Plate  completed  especially  by  the  addition  ot 
the  clouds,  cross-hatching  on  the  columns  and  root  ot  ttie 
Ministere,  and  the  sword  on  the  ground.  , 

Not  mentioned  by  Burty.  Comes  between  his  1st  and  2d 
states. 

^  2d  state.    (B.'s  2d.) 

With  Meryon's  monogram  underneath.  I'or  drawings, 
see  No.  122. 

92  College  Henry  IV* 
B.  83.    W.  58. 

a  Trial  proof,  before  the  sky,  and  before  the  houses  and 
hills  on  the  left. 


ETCHINGS. 


47 


b  Trial  proof,  with  the  houses  and  hills  on  the  left, 

c  1st  state.  With  the  "triangle"  in  the  finished  sky,  and 
the  "boule  noire,"  on  the  first  boat  in  the  queer  procession. 
Underneath,  on  the  left,.  "  Imp.  Pierron  r,  Montfaucon  I," 
and  below  :  "  Paris,  Rochoux,  Quai  de  THorloge,  19." — On 
the  right,  ''C.  M.  Fbat.  1863-64,"  and  under  that  the  title. 
College  Henri  IV.,  [etc.]"  followed  by  seven  lines  of  descrip- 
tion, in  which  it  is  stated  that  the  plate  is  not  yet  finished,  but 
that  thirty  proofs  of  this  "special  state"  are  offered,  dedi- 
cated to  "those  adepts  entirely  devoted  to  the  one  and  absolute 
cause  of  the  true  and  the  good."  At  the  end,  "  Paris, 
ce  15  Janvier,  1864." 

d  2d  state.  Meryon's  monogram  at  the  top  in  the  centre. 
Below  it,  to  the  right,  a  steamer  with  sails  is  introduced. 
"  C.  M,  Fbat.,"  below,  on  the  right,  appears  to  have  been  ob- 
literated, "  1863-64  "  remaining.  To  the  statement  regard- 
ing the  "  thirty  proofs  "  of  the  preceding  state  is  now  added 
a  footnote  :  "  plus  10  of  this  one."   (See  B.  and  W.) 

e  W.'s  4th  state.  The  fantastic  upper  portion  has  been 
replaced  by  houses^  At  the  top  are  small  medallion  eques- 
trian portraits  of"  Henri  IV"  and  "Napoleon  III,"  flanking 
a  Latin  inscription,  Meryon's  monogram  now  appears  on  a 
house  in  the  centre,  towards  the  right.  Title  and  description 
are  now  replaced  by :  "  Vue  a  vol  d^oiseau  du  College  Henri 
IV  [&c.]  Paris  DCCCLXIV." 

/  W.'s  5th  state.  (B.  4th.)  The  title  now  stops  at  "avoisin- 
antes,"  and  followed  by  a  long,  vague  description,  beginning : 
"  Paris  de  la  lanterne  du  Pantheon,"  and  ending :  "  I'urgence 
de  ces  sujetions.    Paris.    Aout.  1864." 

Pencil  note :  "  Dernier  etat.    Plancfie  detruite." 


93  Bain-ffoid  Chevfiei*,  dit  de  PEcoIe^  Paris 
MDCCCLXIV. 
B.  84.    W.  27, 

a  Trial  proof,  before  all  letters,^  befare  the  sky,  the  shad= 
ows  on  the  bath-houses  and  the  inscription  on  the  board 
over  the  bath-houses,  and  with  a  white  space  where  the  fig- 
ure of  a  man  later  on  appears,  on  the  extreme  right, 

b  1st  state  (W.  Trial  proof.  B.  ist  state).  With  sky,  shad- 
ows on  the  bath-houses,  and  the  figure  of  a  man  on  the  ex- 
treme right,  near  the  doorway  of  the  house. 


48 


ETCHINGS. 


Meryon's  signature,  "  C.  M.  1864,"  in  ink. 

c  2d  state  with  Bain-froid  Chevrier  "  on  the  board  over 
the  bath-houses,  Meryon's  monogram  at  the  top,  and  title  as 
above,  with  "  Pierron  Imp.  Paris."  Under  the  etching, 
printed  upside-down,  are  ten  lines  of  verse,  beginning  :  "  Eh 
Qui !  voila  la  LOI." 

For  drawings,  see  No.  123. 

"Portrait  of  Meryon  "  (B.  85),  "Portrait  of  Mons.  De- 
courtive  "  (B.  86),  and  "  Portrait  of  M.  Eugene  Blery  "(B.  87) 
are  not  shown  here. 

94  Portrait  of  Casimit  Lecomte* 

B.  88.    W.  86. 

a  With  "C.  Meryon  del.  aqua  forti.    1856  d'apres  G.  B." 

B.  2d  state.    No  states  in  W. 

d  Same  as  preceding,  on  parchment. 

"Tne  initials  '6*.  are  those  of  the  -psdnter,  ^  Gusfave 
Boulanger,''    This  was  a  facsimile  of  his  drawing." — Burty. 

95  Evafiste  Boulay-Paty*     After  a  bronze  me- 

dallion by  David  d' Angers. 
B.  89.    W.  87. 

a  With  title,  and  "  Delatre  Imp.  r.  des  Feuillantines,4 
Paris." 

B.'s  2d  state.  Wedmore  gives  no  states.  "3  Feb."  on 
margin,  in  pencil. 

b  With"  C.  M.  sc.  1861  "  under  the  title. 

96  Frangois  Viete* 

B.  90,    W.  88. 

a  Trial  proof.  Figure  wanting  from  under  the  arms  down- 
ward, excepting  the  feet  and  a  thin  strip  from  the  right  elbow 
down.  The  top  or  upper  border  line  curves  downward  in  the 
centre,  forming  a  double  arch. 

<^  Trial  proof.  Figure  finished.  Inscription"  A -{- B  +  C," 
shadow  below  the  ball,  chess-squares  and  chessmen,  and 
mathematical  diagrams  now  appear.    The  end  of  the  yarn  or 


ETCHINGS. 


49 


cord  now  falls  from  the  ball  to  the  floor.  Meryon's  mono- 
gram underneath,  within  the  circle  formed  by  a  snake. 

c  Finished  plate.  The  top  border  line  has  now  been 
squared  off.  Shadow  between  right  foot  and  ball  now  ap- 
pears. Title:  "  Fran9ois  Viete,"  and'*  d'apres  Rabel,  i86i," 
and  "A.  Beillet,  Imp." 

B.'s  2d  state.    No  states  mentioned  by  W. 

97  Pierre  Nivelle^  eveque  de  Lu9on,  n6  a  Troyes 
en  1584,  mort  a  Lugon  le  10  Fev.  1660. 
B.  91.    W.  89. 

a  Proof  before  all  letters. 

b  With  inscription,  as  above,  and  "  D'apres  M.  L.  Imp. 
A.  Beillet  Q'  de  la  Tournelle  35  Paris." 

c  With  alternate  letters  in  the  inscription  around  the  por- 
trait printed  in  red  ink. 
Etched  on  iin,''—  Bur ty. 


98  T»  Agffippa  Aubigne* 

B.  92.    W.  90. 

a  With  title, and  "  C.  M.  d'apres  Ht,  Imp.  A.  Beillet  Q. 
de  la  Tournelle,  35.  Paris." 

b  Plate  worked  over  and  cut  down,  line  below  portrait  now 
straight  instead  of  curved.    No  letters. 

On  tin,  after  a  lithograph  by  Hibert,  says  Burty. 

99  Jean  Besly*    1861,  d'apres  I.  Isac.    Imp.  A. 

Beillet  Q.  de  la  Tournelle,  35. 
B  93.    W.  91. 

a  Trial  proof.    Before  letters. 

b  With  all  inscriptions.  Meryon's  m-onogram  in  left  upper 
corner,  and  "^T.  70  ANN.  1642  "  in  right  upper  corner. 


ETCHINGS. 


100  Rene  de  Burdigfale  Sr*  dc  Laudonniere 

Sablais^  d'apres  Crispin  de  Pas.    A.  Beillet 

Imp.  Quai  de  la  Tournelle,  35,  Paris, 

B.  94.    W.  92. 

B.'s-  3d  state.  With  Meryon's  monogram  at  the  bottom 
of  the  oval  frame. 

10 1  Portrait  of  Armand  Gueraud^  the  printer* 

B.  95.    W.  95. 

a  Before  the  initials  "  C.  M." 

Pencil  note  by  Meryon :  fitat  portant  les  marques  des 
parties  completement  vides  de  la  planche  par  suite  du  fusion 
du  metal." 

^  With  "CM.'' 

From  a  photograph,    *'  It  was  engraved  v^^ith  the  burin  on 
a  soft  metal —  tin  — which  only  gave  off  a  few  proofs." — Burty, 
(See  also  No.  89.) 

102  Bizeul  (Louis:JacquesjMarie) ^  I860* 

B.  96.    W.  93. 

a  Trial  proof,  before  letters.    B.'s  2d  state. 
b  With  title  as  above,  "  C.  M.  sculpt.,  1861.    Imp.  Beillet^ 
Paris,"  below,  and  *'  75e  annee  de  son  age  "  above* 
B.'s  4th  state. 

103  Benjamin  Fillon* 

B.  97.    W.  94. 

a  1st  state.  (B.  ist.)  "  C.  Meryon  sc.  s.  Pho.  LXII.  e." 
over  right  shoulder. 

<^  2d  state.  (B.  2d.)  Added:  "Benjamin  Fillon,"  and 
"  C.  M.  scupit  1862.  A.  Beillet  Imp.  Quai  de  la  Tournelle, 
35,  Paris,"  below,  and  "43e  annee  de  son  age  "  at  the  top. 

No  states  in  W. 


DRAWINGS 
AND  A  SET  OF  PHOTOGRAPHS. 


The  drawings  are  in  pencil,  except  Nos.  104  and  108. 

104  Portfolio  lettered  in  ink  and  color  by  Mer- 

yon  for  presentation  of  impressions  of  his 

early  etchings  to  Eugene  Blery,  his  master. 

With  attestation  in  ink  by  B.  Blery,  daughter  of  the  artist, 
10  May,  1890. 

105  Drawing*  of  a  New  Zealand  Float* 

106  Drawingf  of  a  Dredge* 

107  Photographs  and  Drawings  for  the  Etch- 

ing,  San  Francisco/^ 

a  Five  photographs  joined  together. 
b  Complete  drawing  in  five  sections. 
c  Drawing  of  first  section  in  reverse, 

d  Drawings  of  figures  of  "  Work  and  "  Abundance  "  and 
the  head  of  the  banker  A.  Pioche. 

e  Sketches  of  head,  hand,  and  foot  of  "Work,"  and  sketch 
of  figure  on  piazza. 

See  No.  29. 

SI 


52  DRAWINGS  AND  PHOTOGRAPHS. 

1 08  Pen-and-Infc  Drawing*  for  ^'Fltjctuat  nec 

See  No.  43. 

109  Drawingf  of  a  Grotesque  of  Notre  Dame^ 

with  verses,  "Sur  une   Chimere  de  Notre 

Dame     de     Paris/*    dated    "  November 

MDCCCLIII." 

Reproduced  in  "  Notes  et  Souvenirs  sur  Charles  Meryon,'^ 
by  A.  Bouvenne. 

1 10  Sixteen  fragmentary  sketches  of  architec- 

ture* 

111  Sketch  for  portion  of  the  etching,  '^Saint- 

Etienne-du-Mont/^ 

See  No.  51. 

112  Drawings  for  ^^Le  Pont  Neuf/^ 

a  Sketch  of  a  tower. 
5  Drawing  of  an  arch. 

Note  on  the  sketch,  in  ink :  "  pris  a  la  chambre  claire." 

c  Sketch  of  part  of  the  subject. 

d  More  complete  drawing  of  the  same. 

See  No.  54. 

113  Sketch  of  bath-houses  under  the  Pont-au- 

Change* 

See  Nos.  27  and  55. 


DRAWINGS  AND  PHOTOGRAPHS.  53 

14  Drawings  iot  ^'La  Morgfwc/^ 

a  Complete  drawing. 
d  Sketch  of  windows. 
See  No.  57. 

15  Two  Sketches  iot  ^^Le  Tombeau  de  Mo- 

See  No.  61. 

16  Two  Drawings  for  ^'Tourelle,  Rue  de 

rficole  de  Medecine,  22/^ 

a  Complete  drawing.    Signed    C.  M.",  in  ink. 
d  The  spire  of  the  tower, 
See  No.  64. 

17  Drawing   of    ^'Ancienne    Habitation  a 

Bourges/^ 

See  No.  68. 

18  Drawing  of    Oceanie^  ilots  it  Uvea  (Wal- 

lis)*   Peche  aux  Palmes,  1845/^ 

See  No.  74. 

19  Drawing  for  '^fitat  de  la  petite  Colonie 

Frangaise  d^Afcaroa  vers  1845/^ 

See  No.  77. 

20  Drawing  for     Pro-volant  des  lies  Mul- 

grave,  Oceanie/^ 

See  No.  79. 


54  DRAWINGS  AND  PHOTOGRAPHS. 

121  Two  Studies  iot  the  larger  etching  '^La 

Loi  Lunaire/^ 

See  No.  83. 

122  Two  Drawings  for  Le  Ministere  de  la  Ma- 

rine/^ 

See  No.  91. 

123  Two  Drawings  for  ^'Bain-froid  Chevrier/^ 

a  Complete  drawing. 
d  Fragment. 

Both  with  "  C.  M.  1864  "  in  ink.    See  No.  93. 

124  Drawing  of  a  Bird,  and  enlarged  drawing  of 

its  foot.    With  pencil  memorandum. 


